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You searched for subject:(Niche discrimination). Showing records 1 – 2 of 2 total matches.

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University of Manitoba

1. Matley, Jordan. The ecology of Arctic cod (Boreogadus saida) and interactions with seabirds, seals, and whales in the Canadian Arctic.

Degree: Biological Sciences, 2012, University of Manitoba

This thesis investigates the foraging of Arctic cod (Boreogadus saida) and its predators during the summer in the Canadian Arctic. Findings included the identification of Arctic cod, ringed seal (Pusa hispida), beluga (Delphinapterus leucas), and narwhal (Monodon monoceros) diet shifts in response to seasonal prey availability; calculation of isotopic diet-tissue discrimination factors for Arctic cod, ringed seals, and whales based on local tissue and stomach content sampling; and determination of predatory cues to optimize foraging, such as the presence of schools. Additionally, I quantified seabird feeding and interspecific interactions such kleptoparasitism and found that black-legged kittiwakes (Rissa tridactyla) and northern fulmars (Fulmarus glacialis) captured cod directly but lost many to parasitic jaegers (Stercorarius parasiticus) and glaucous gulls (Larus hyperboreus). Finally, I determined that schools of cod were important prey sources for northern fulmars, glaucous gulls, and whales however non-schooling cod were a significant source for black-legged kittiwakes and ringed seals. Advisors/Committee Members: Dick, Terry (Biological Sciences) (supervisor), Fisk, Aaron (Biological Sciences) Baydack, Rick (Environment and Geography) (examiningcommittee).

Subjects/Keywords: foraging; diet; stable isotopes; school; predator; food web; migration; kleptoparasitism; niche; diet-tissue discrimination factor; northern fulmar; black-legged kittiwake; glaucous gull; parasitic jaeger; ringed seal; narwhal; beluga

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Matley, J. (2012). The ecology of Arctic cod (Boreogadus saida) and interactions with seabirds, seals, and whales in the Canadian Arctic. (Masters Thesis). University of Manitoba. Retrieved from http://hdl.handle.net/1993/8868

Chicago Manual of Style (16th Edition):

Matley, Jordan. “The ecology of Arctic cod (Boreogadus saida) and interactions with seabirds, seals, and whales in the Canadian Arctic.” 2012. Masters Thesis, University of Manitoba. Accessed June 16, 2019. http://hdl.handle.net/1993/8868.

MLA Handbook (7th Edition):

Matley, Jordan. “The ecology of Arctic cod (Boreogadus saida) and interactions with seabirds, seals, and whales in the Canadian Arctic.” 2012. Web. 16 Jun 2019.

Vancouver:

Matley J. The ecology of Arctic cod (Boreogadus saida) and interactions with seabirds, seals, and whales in the Canadian Arctic. [Internet] [Masters thesis]. University of Manitoba; 2012. [cited 2019 Jun 16]. Available from: http://hdl.handle.net/1993/8868.

Council of Science Editors:

Matley J. The ecology of Arctic cod (Boreogadus saida) and interactions with seabirds, seals, and whales in the Canadian Arctic. [Masters Thesis]. University of Manitoba; 2012. Available from: http://hdl.handle.net/1993/8868

2. Dupuis-Desormeaux, Nathalie. TUTTI! - Music Composition as Dialogue.

Degree: PhD, Music, 2018, York University

As an engineer, when I could not comprehend a physical phenomenon, I turned to mathematics. As a mathematician, when I could not link sciences to humanity, I turned to music. As a music composer, I no longer see things, I see others. The novel method of music composition presented herein is a first comprehensive framework, system and architectonic template relying on the ideologies of Mikhail Bakhtin's dialogism as well as on research in auditory perception and cognition to create music dialogue as a means of including and engaging participants in musical communication. Beyond immediate artistic intent, I strive to compose music that fosters inclusiveness and collaboration as a relational social gesture in hope that it might incite people and society to embrace their differences and collaborate with the 'others' around them. After probing aesthetics, communication studies and sociology, I argue that dialogism reveals itself well-suited to the aims of the current research. With dialogism as a guiding philosophy, the chapters then look at the relationship between music and language, perception as authorship, intertextuality, the interplay of imagination and understanding, means of arousal in music, mimesis, motion in music and rhythmic entrainment. Employing findings from Gestalt psychology, psychoacoustics, auditory scene analysis, cognition and psychology of expectation, the remaining chapters propose a cognitively informed polyphonic music composition method capable of reproducing the different constituents of dialogic communication by creating and organizing melodic, harmonic, rhythmic and structural elements. Music theory and principles of orchestration then move to music composition as examples demonstrate how dialogue scored between voice-parts provides opportunities for performers to interact with each other and, consequently, engage listeners experiencing the collaboration. As dialogue can be identified in various works, I postulate that the presented Dialogical Music Composition Method can also serve as a method of music analysis. This personal method of composition also supplies tools that other musicians can opt to employ when endeavouring to build balanced dialogue in music. If visibility is key to identity, then composing music that potentially enters into dialogue which each and every voice promotes 'humanity' through inclusivity, yielding a united Tutti ! Advisors/Committee Members: Coghlan, Michael (advisor).

Subjects/Keywords: Cognitive psychology; Music composition; Polyphonic music composition; Cognitively informed polyphonic music composition; Dialogical Music Composition Method; Dialogic music composition method; Music theory; Dialogic contrapuntal harmony; Orchestration; Melody; Harmony; Polyphony; Counterpoint; Rhythm; Form; Growth; Music architecture; Music analysis; Dialogue; Music dialogue; Dialog; Music dialog; Dialogism; Bakhtin; Reception theory; Gadamer; Kant; Hegel; Adorno; Schoenberg; Stravinsky; Hindemith; Toch; Huron; Bregman; Franc├Ęs; Dialogic communication; Music communication; Musical communication; Compelling music; Inclusion; Inclusivity; Inclusiveness; Participation; Participatory music; Music as society; Music as community; Music sociology; Engaging music; Engagement; Collaboration; Balanced dialogue in music; Biophony; Niche discrimination; Krause; Communication studies; Language; Music aesthetics; Aesthetics; Philosophy of music; Musicology; Cognitive psychology; Auditory perception; Music cognition; Cognition; Psychology of perception; Reception; Music reception; Auditory streaming; Auditory scene analysis; Gestalt psychology; Authorship; Imagination; Intertextuality; Mimesis; Appropriation; Appropriative authorship; Authoring; Re-authoring; Imagination as creation; Psychoacoustics; Expectation theory; Theory of expectation; Expectation; Psychology of expectation; Tutti; Music arousal; Intellectual arousal; Emotional arousal; Sensory arousal; Entrainment; Physicality; Stability; Variety; Closure; Uniqueness; Sequential dialogue; Collaborative dialogue; Disjoint dialogue; Surprise; Drama; Dramatic structure; Structure of drama; Dramatic work; Freitag; Representation; Memory; Repetition; Experience; Anticipation; Pointing; Anchoring; Anchor; Tonality; Tonal anchor; Close neighbors; Individuality; Collectivity; Formalism; Functionalism; Subjectivity; Structuralism; Cohen; Marburg; Auditory learning; Style; Conventions; Acculturation; Semiotics; Dynamic expectation; Schematic expectation; Veridical expectation; Symmetry; Motivic repetition; Thematic repetition; Style analysis; Modulation; Modulation tools; Memory as experience; Familiarity; Redundancy; Compositional acculturation; Rimsky-Korsakov; Gevaert; Rameau; Bimodality; Bi-modality; Diatonic; Overtones; Perceptual motion; Pitch proximities; Harmonic motion; Polytonality; Polyrhythm; Contemporary music; Art-music; Western art music; Neoclassicism; Modernism; Inclusive dialogue; What makes music compelling?; Selection and Structuring of Music Parameters to Create Inclusive; Engaging and Participatory Dialogue in Music Composition; Performance; Performativity; Small; Musicking; DeNora; Include; Engage; Listener; Audience; Interpretation; Play; Interaction; Interactive; Performer; Conductor; Orchestra; Orchestral music; Instrumental music; Absolute music; Tone painting; Word painting; Singing; Empathy; Mirror neuron; Music meaning; Music expression; Hanslick; Meyer; Langer

Record DetailsSimilar RecordsGoogle PlusoneFacebookTwitterCiteULikeMendeleyreddit

APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Dupuis-Desormeaux, N. (2018). TUTTI! - Music Composition as Dialogue. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/34488

Chicago Manual of Style (16th Edition):

Dupuis-Desormeaux, Nathalie. “TUTTI! - Music Composition as Dialogue.” 2018. Doctoral Dissertation, York University. Accessed June 16, 2019. http://hdl.handle.net/10315/34488.

MLA Handbook (7th Edition):

Dupuis-Desormeaux, Nathalie. “TUTTI! - Music Composition as Dialogue.” 2018. Web. 16 Jun 2019.

Vancouver:

Dupuis-Desormeaux N. TUTTI! - Music Composition as Dialogue. [Internet] [Doctoral dissertation]. York University; 2018. [cited 2019 Jun 16]. Available from: http://hdl.handle.net/10315/34488.

Council of Science Editors:

Dupuis-Desormeaux N. TUTTI! - Music Composition as Dialogue. [Doctoral Dissertation]. York University; 2018. Available from: http://hdl.handle.net/10315/34488

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