Brandon Bernal

Chemical formula mass% Atom% Sigma Net K ratio Line C 7.73 12.26 0.01 61336 0.0147612 K O 44.99 53.58 0.04 1084558 0.7677198 K Na 17.92 14.85 0.04 682387 0.4350592 K Al 25.07 17.71 0.05 893458 0.6412567 K V 4.29 1.60 0.07 23285 0.1138249 K Total 100.00 100.00

Figure 5 Dried After treatment, filtrate on Aluminium foil The results indicate a drastic decrease in the mass percentage vanadium loading in the recovered filtrate. The corresponding values highlighted in red show vanadium loading in the untreated solution (Figure 1) and the after-treatment filtrate (Figure 5). Analysis indicates Vanadium sorbed to coffee surface in Figure 4 and none in Figure 3.

Conclusion(s) or Summary:

The results indicate the strong potential for spent coffee grounds to act as an inexpensive sorbent to remove Vanadium from wastewater with no pH adjustment. Thus, sustainable feedstock could be the solution to an imminent global water scarcity problem.

Awardee and Student:

Dr. Andrea Ashley-Oyewole is an Assistant Professor with research interests in Trace metal toxicology, green and sustainable chemistry. Tristan Roland is a freshman majoring in biology with a minor in chemistry.

Latin America's Musical origins and its Influence on "Suite Suramericana," an Original Composition Brandon Bernal

Mentor: Daniel Pardo Department of Music

Abstract

Latin-American music is a manifestation of the cultural merge of European forms, along with harmonic development, with the richness of African and Middle Eastern rhythms. This mixture of cultures resulted in the creation of new sounds and traditions in different geographical regions. This consideration goes beyond boundaries set by countries. In some instances, music styles are shared, as seen in Venezuela and Colombia's plains with Joropo and Musica Llanera, or the Andean music covering the mountain range from Chile and Bolivia, through Peru, Ecuador, and Colombia. There are other cases where geographical divisions kept the development of music styles within a specific country, but with branches so distinct that they become recognizable to the trained ear. That is the case of music from Brazil, where within its large territory, Samba and Choro have evolved differently throughout the country. This composition aims to create a work for two instrumental voices, inspired by the joining of musical genres from several regions and countries in Latin America with a modern approach to harmony and Page 117 sound design. To accomplish this, we use traditional composition and forms and electronic composition practices such as of 3

granular synthesis and sampling. This electronic Suite (collection of instrumental pieces) in seven movements (I. Overture, II. En Los Llanos, III. En Las Montañas, IV. En la Selva, V. En Las Islas, VI. En Un Mundo) represents our vision of cultural identity beyond geographical and political boundaries, which constitutes a global artistic oneness approach.

Final Report:

Latin-American music is the manifestation of cultural diversity. With the many styles that Latin American music offers, acquiring the knowledge of cultures that have influenced it creates a much deeper understanding and appreciation for music. Furthermore, an idea was proposed to create a musical composition employing the aspects that formulate Latin American music. This musical piece entails the essence of each region within Latin America. With this information, musical forms along with traditional harmonic figures are used in such a way to create a unique musical suite for two Flutes, accompanied by background music. Slightly before the arrival of European Influence, there existed and still exists the traditions of Aboriginal cultures. "Before the arrival of Columbus at the Americas, the Mayans, Aztecs, and Incas who inhabited the lands now known as Central and South America, expressed themselves through music, specifically with flutes." (Petrov, 1) Many of these traditions have carried on throughout the evolution of Latin American music. Additionally, during the start of the "New War," the Spanish and Portuguese brought their languages, cultures, traditions, and music, much like the other cultures that have influenced Latin American music. Specifically, the Spanish carried traditions from both Middle East and Europe. "As their culture was tightly entwined with the one of the Moors, who were Muslim inhabitants of the Maghreb." (Petrov, 1) Since percussion is a highly vital part of Latin American music, acknowledging the diaspora of its origin makes creating a composition much more straightforward. The origin of many rhythmic figures within Latin America comes from the African diaspora. Specifically through "Drum Circles." The musical traditions that come from Africa are mainly oral and taught by rote; this means that older generations passed down customs, values, and the intent to play music. Collective experiences have played a large part in African music, sharing aspects like rhythm and dance. "Drum Circles," being that they are a collective experience, are based on improvisation. One individual would start with a simple idea (beat) and repeat it until all individuals reached a general state of mind regarding a given drum sequence. For example, a "polyrhythm" is the "simultaneous use of two or more contrasting rhythms in a musical texture. A crucial feature of polyrhythm is that each constituent part is subject to extensive repetition. "a multirhythmic texture as one in which several repeating patterns are superimposed" (Agawu, 176). Whether it would be celebration, introspection, or a general release of tension, drum circles were an integral part of African culture. These very beats inspired many of the modern styles of Latin American music. These family and communal experiences carried on throughout the slave trade that occurred within multiple countries. Once in South America, the slaves would be able to practice their cultural freedom with drumming. One of the few rights that was not taken away from African Slaves at the time. All over the Americas and the Caribbean, slaves and natives mingled and exchanged their unique takes on different rhythms, dances, and melodies, giving birth to innovative musical creations. The melodies have a richness that is enveloped by the percussive syncopation influenced by the drums. These melodic motifs seem very much like expressions, very spiritual and personal toward the given cultures. Therefore, storytelling was a fundamental part of "drum circles." Lead drum narratives refer to "telling stories on the drum using a variety of patterns. The stories are sometimes highly elaborate and original, sometimes conventional, and often framed in liaison with the other musicians' patterns"(Agawu, 184). Considering that harmony is another fundamental part of most musical styles within Latin American music, recognizing the instruments that commonly play a prominent role in the given musical genres creates an in-depth analysis of how to formulate each style. For instance, to create, or in this case, formulate what is known as the Choro style, one must consider the origin of this stylistic sub-genre. Choro, also known as chorinho, is originally from Brazil. Furthermore, "Choro," translated into English, means to lament or cry. Despite the name that's connected with despair, the music often has a fast and happy rhythm. In the mid-19th century, the instrumental ensemble generally included the "flute, clarinet, ophicleide, trombone, cavaquinho (a type of ukulele), guitar, and a few percussion instruments (particularly the tambourine)" (Béhague, 1) The art of composing music is a very personal but intellectual process. In this case, not only does the stylistic context matter, the historical context is just as important. "There is no right or wrong way to gather these ideas, but rather to use surroundings that inspire. Sometimes the results can be extremely rewarding if done correctly." (Colón, 1) Therefore, it is crucial to have a thorough foundation in the study of music, both historically and theoretically. The original composition titled "Suite Suramericana" is being formulated through careful consideration regarding stylistic choices in terms of the theoretical side of