Red Dog, Horses and Bogong Moths: The Memorialisation of Animals in Australia

In this article I examine ways in which animals are memorialised in Australia. By examining the narratives surrounding horses in the Snowy Mountains of New South Wales, ceremonies for Bogong moths, and touching upon the stories of Red Dog, I show how the intangible can be considered a memorial and a memorial landscape conceived as one that is co-constructed by humans and animals. Understanding memorialisation as intangible facilitates a repositioning of animals in relation to humans and the creation of a new framework of reference for memorialising animals

Ligeti the maverick? An examination of Ligeti's ambivalent role in contemporary music.

György Ligeti, the Hungarian composer, is often described as a maverick by commentators on later twentieth century music, and this article will examine the evidence for using such a label. To what extent can Ligeti can genuinely considered as a maverick, or is this epithet perhaps an over-simplification of a more complex situation? The OED’s definition of a maverick is ‘an unorthodox or independent-minded person: a person who refuses to conform to the views of a particular group or party: an individualist.’ This definition is close to the often stated view of Ligeti when compared with his peers and colleagues, and it is also the view that Ligeti himself seems to want to project in his many interviews. When he was accused by Helmut Lachenmann in 1984 as ‘selling out’—initiated by a performance of Ligeti’s rather postmodernist-sounding Horn Trio—Ligeti suggested that he was actually composing non-atonal rather than postmodernist music. Thus suggesting that he felt he was not following the prevailing new cultural movement of postmodernism; though works such as Hungarian Rock for harpsichord seem to undermine this assertion, with its use of tonality and influences of jazz. When one compares Ligeti’s Apparitions for orchestra with Penderecki’s contemporaneous Threnody for the Victims of Hiroshima, it is possible to observe the similarities of approach in each of these works; thus suggesting that Ligeti was in fact part of a more general approach to composing in the 1960s, focused on texture and timbre. When one views Ligeti’s entire oeuvre, one can see that he did in fact follow various contemporary compositional trends. The analysis of Ligeti’s music will be used to construct a more nuanced evaluation of his approach, with the conclusion that the term ‘maverick’ does not do justice to the wide range of his output

Connecting place, people and animals : an historical study of environmental and cultural change in the Snowy Mountains landscape

University of Technology, Sydney. Faculty of Humanities and Social Sciences

The significance of timbre as a structural component in selected works by Ligeti

Gyorgy Ligeti is perhaps best known for his micropolyphonic textural music of the 1960s such as Atmospheres and Lux Aeterna, and it was during this period that he demonstrated that it was possible to compose music through purely textural means. His focus on the readily audible aspects of music rather than abstract inaudible structures might explain why his music was generally more approachable than that of many of his contemporaries. Ligeti is concerned in these works with the audible textural surface of his music, but also the timbral aspects which are equally significant. He has stated in an interview with Josef Häusler in 1968 that in relation to Atmosphères the formal transformations of sections are dependent on the changing tone-colours, he also says that 'Atmospheres is a composition in tone-colours par excellence' – he is suggesting that the structure is being controlled by the change of timbres. The exploration of timbre is a significant compositional feature in Ligeti’s music throughout his oeuvre and can be related to his early admiration of the music of Bartok and Webern. In this paper I will explore how Ligeti uses timbre as a structural component through timbral analysis of movements from his Ten Pieces for Wind Quintet (1968) and the much later Hamburg Concerto (1999 rev 2002). I aim to show that Ligeti structured some of his works through timbral means, and that this aspect of his music is as significant as his textural innovations. What makes much of Ligeti’' music so distinctive is the subtle use of specific and memorable timbres, and how these timbres gradually evolve over time

An investigation of the kinetics of thermophilic microbial ferrous iron oxidation in continuous culture

Includes bibliographical references (p. 121-135).The potential of thermophilic micro-organisms to bioleach primary copper sulfides and other minerals has led to the need to develop a fundamental understanding of the mechanistic process involved. Ferrous iron oxidation has been established as a key step in bioleaching and is understood to be achieved largely by microbial action. The objective of this work was to determine an appropriate set of kinetic expressions that describe the rates of microbial growth and ferrous iron oxidation of a thermophilic archeal culture grown in continuous culture on ferrous iron between 60 and 80°C

Survey of Microcomputer Access by Students with Mild Handicaps in East Central Illinois

This descriptive research was conducted to collect data concerning the accessibility of school microcomputers to students who have been labeled as having a mild (high prevalence) handicapping condition. One hundred thirty nine randomly selected school administrators in East Central Illinois were surveyed to determine the number of microcomputers in their schools and the types of programs that were offered to students with special needs. The schools were divided into seven categories depending on the type and size. Total school enrollment figures were divided by the total number of microcomputers available at the school to determine a student to microcomputer ratio at the school. As 99% of the survey respondents reported seeing students with mild handicaps using microcomputers in the schools, this ratio was considered a measure of accessibility for the purpose of comparison. The findings were that students with mild handicaps had decreased accessibility to microcomputers in their schools by an. average of 8.5 students per microcomputer in the elementary and middle schools. In the high schools, however, students with mild handicaps had increased access to microcomputers by an average of 5.5 students per microcomputer. It was concluded that special education funding for classroom technology is probably concentrated at the secondary level