title: Verbs in Māori: The problem of definitional criteria

authors: Whaanga, Hēmi

subjects: te reo Māori

abstract: A range of different types of criteria has been applied at different points in the history of the classification of verbs in Māori. These have included syntactic and morphological criteria, semantic criteria and derivational criteria. Unfortunately, these criteria have not always been applied consistently and this has led to considerable disagreement about the classification of verbs in Māori. In this paper, different accounts of verb classification in Māori are critically examined and it is argued that some of the disagreements can be resolved by acknowledging (a) that words in Māori may be assigned to different word classes in different contexts, and (b) that word classes and sub-classes should be determined on the basis of morphological and syntactic criteria with semantic and derivational information playing a role only in so far as they have observable syntactic and/or morphological consequences.

text: Verbs in Māori: The problem of definitional criteria A range of different types of criteria has been applied at different points in the history of the classification of verbs in Māori. These have included syntactic and morphological criteria, semantic criteria and derivational criteria. Unfortunately, these criteria have not always been applied consistently and this has led to considerable disagreement about the classification of verbs in Māori. In this paper, different accounts of verb classification in Māori are critically examined and it is argued that some of the disagreements can be resolved by acknowledging (a) that words in Māori may be assigned to different word classes in different contexts, and (b) that word classes and sub-classes should be determined on the basis of morphological and syntactic criteria with semantic and derivational information playing a role only in so far as they have observable syntactic and/or morphological consequences.

year: 2000-10

title: Portfolio of compositions

authors: Hoadley, Benjamin Russell

subjects: New Zealand composition

abstract: The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

text: Portfolio of compositions The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

year: 2016

title: A low-toxicity method for the separation of lanosterol and dihydrolanosterol from commercial mixtures

authors: Kavtaradze, Levan K.

subjects: lanosterol

abstract: We describe an inexpensive, low-toxicity and high-yielding method for the production of pure lanosterol and dihydrolanosterol from the commercially available mixture. Optimum conditions are presented for the one-pot production of the intermediate 24,25 vicinal diol of lanosterol acetate (via either epoxidation or hydroxyhalogenation) which is readily separated from the unreacted dihydrolanosterol acetate. The lanosterol diol can then be converted to pure (>97%) lanosterol. Hypophosphorous acid was used for both the conversion of the epoxide to the diol, and as a catalyst for the hydroxyhalogenation by N-halosuccinimides of the olefinic bond.

text: A low-toxicity method for the separation of lanosterol and dihydrolanosterol from commercial mixtures We describe an inexpensive, low-toxicity and high-yielding method for the production of pure lanosterol and dihydrolanosterol from the commercially available mixture. Optimum conditions are presented for the one-pot production of the intermediate 24,25 vicinal diol of lanosterol acetate (via either epoxidation or hydroxyhalogenation) which is readily separated from the unreacted dihydrolanosterol acetate. The lanosterol diol can then be converted to pure (>97%) lanosterol. Hypophosphorous acid was used for both the conversion of the epoxide to the diol, and as a catalyst for the hydroxyhalogenation by N-halosuccinimides of the olefinic bond.

year: 2004-09-01