An Analysis Of Liszt Sonata

An Analysis Of Liszt Sonata This essay starts from the background of Piano Sonata in B minor. It then focuses on the importance of this work in romantic period. I will analyze the structure of this sonata, compare few scholars analysis and discuss how the technique of thematic use in the piece. Liszt appreciated Beethovens music. He looked upon Beethovens piano sonatas as models. He was influenced by Beethoven a lot. The sonatas development from baroque, classical to romantic period, approached the peak in the beginning of nineteenth century. Liszts Sonata in B minor leads a really important role. There are lots of arguments for this piece in the sonata literatures. The content and musical structure both are the topics of which are considered to continue the heritage of music in the past and usher in the future. Liszt had composed three solo piano sonata in 1825, however these pieces were unpublished and now are lost. The only piano sonata now exist is Sonata in B minor. Liszt had the conception of this piece from 1851, until 1853 he completed this sonata. The sonata first publicly performed by Liszts pupil, Hans von Bà ¼low on January 27, 1857 in Berlin. It has been first published in the spring of 1854 with a dedication to Schumann. Liszt said in a letter that this was his meaning of expressing appreciation for Schumann s having dedicated to him the Fantasy op.17 in C (1838). As a musician anxious to avoid formulaic composition, Liszt surely would have been delighted at the amount of scholarly bickering engendered by the Sonata in B minor. We discover from Winklhofer, for instance, that for more than a century after its composition, the formal architecture of Liszts sonata has eluded convincing explanation- until her own, of course m and so much for Newman, Longyear and the rest. Presumably until then all convincing performances of the Sonata, and the copies by Reubke and Liapunov, were achieved by serendipity. Hamilton, K. (1996) Liszt Sonata in B Minor P.28 Some of the analytical arguments over the form of the Sonata are largely discussed. The analysis of W. S. Newman has been most influential, He proposed a new idea double-function form, which means a structure that can be considered both as one continuous movement and simultaneously as a composite of the movements of a multi-movement work. In other words, the Sonata, though in one movement, presents elements of a first movement- slow movement- scherzo- finale structure. Newman was the first to illustrate this double-function view. Since in both views a multi movement structural mold predominated over that of a sonata form in one movement, the problem of large scale structure became a clouded issue. Whatever their differences, Newman, Longyear and Winklhofer are at least agreed with one point: that the sonata is not a programmatic work, and that as a result analysis of it can only proceed on purely musical terms. Liszt himself never dropped the slightest hint that the Sonata had a prog ramme, but this is no problem, as several writers have been kind enough to supply one for him. The Structure of the Sonata in B minor According to William Newman: Double-function analysis (Four movements in one) First movement of a sonata exposition bar 1-330 development bar 331-525 recapitulation bar 525-681 coda bar 682-760 Four movements sonata First movement bar 1-330 slow movement bar 331-459 scherzo bar 460-524 finale bar 525-681 coda bar 682-760 Allegro Andante Fugato Allegro Coda Incomplete Sonatina ABA Scherzando fugue Finale: Incomplete Sonatina Coda Exposition Development Recapitulation Coda The Structure of the Sonata in B minor According to Rey Longyear: Double-function analysis (Three movements in one) First movement of a sonata introduction bar 1-7 exposition bar 8- 178 development bar 179-459 recapitulation bar 460-649 coda bar 650-760 Three movements sonata First movement bar 1-330 Slow movement bar 331-459 finale bar 460-760 Allegro Andante Fugato Coda First movement Slow movement AB Finale: Scherzando Coda Exposition Development Recapitulation The Structure of the Sonata in B minor According to Winklhofer: One-movement sonata form analysis First movement of a sonata exposition bar 1 -204 development bar 205-452 recapitulation bar 453-649 coda bar 650-760 Newman seems to sense that the double-function theory weakens under scrutiny. He warns twice of the danger of making Procrustean beds out of such classifications. The consequences of applying a rigid formal scheme upon a piece never born upon such terrain are dismissed as compromises which Liszt saw as necessary to retain the double-function dynamic. Nevertheless, this analysis is the most influential to appear thus far. Rey Longyear also describes the work as a series of distinct movements, which combine for a large sonata form. He finds three movements (First Movement, Slow Movement and Finale) in place of Newmans four, but provides no justification for these designations. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.120 In my opinion, I analyze this sonata B minor in three movements (First Movement, Slow Movement and Coda) and combine a large sonata form. I will discuss why and analyze the structure in my essay. First mvt. Second mvt. Third mvt. coda section Exposition Development Recapitulation Coda location mm.1-330 mm.331-459 mm.460-710 mm711-760 tempo Lento/Allegro Andante Allegro-Prestissimo Andante key Unstable (G minor- B minor)B minor- D major F sharp major- A major- F sharp major B flat minor- B minor- B major B major motive (theme) A A1 mm.1 D mm.331 A2- A3 mm.460 D mm.711 C mm.349 C mm.718 A2 mm.8 B mm.363 A2- A3 mm.533 A2- A3- A1 mm.729 A3 mm.14 D mm.393 B mm.105 C mm.433 B mm.600 C mm.153 A1 mm.453 Section one Exposition We can see section one as an exposition of the sonata form. From beginning to mm.17 is theme A, Liszt uses the variety of theme A in the whole piece. A1, A2, A3 motive lead the development of whole piece. William Stein Newman thought motive A is the important link which starts and ends every different section in the whole piece. More noticeable here than the attractive character of these ideas is the effect on harmonic. The Sonata in B minor does not start in B minor, nor is any other key stably established. The first seven bars (mm.1-7) is a tonal centre of G as a beginning. The focus on G in motive A1 then serves as a point of common contact to the start of A2. In theme A, there are lots A sharp which is leading tone of B minor, can not resolve to B minor because of vague tone(Example 1 mm.1-17). Motive A1 begins with lento assai and sotto voce, consists of descending scales suggesting either G minor or C minor, with continuously alterations. The second motive A2 is characterized by its contour, which outlines a diminished seventh, and by its robust, dotted rhythms. This motive A2 also begins on G, but implies B minor, ending on A sharp. We may expect the tonic followed by this leading tone. Instantly the third motive (A3) is presented, a striking upbeat contour, starting on B minor but leaving with a dimi nished seventh on the leading tone to G at m.17. (see Example 1) Example 1 mm.1-17 à ¦Ã…“ ªÃƒ ¥Ã¢â‚¬ËœÃ‚ ½Ãƒ ¥Ã‚ Ã‚ .PNG Liszt expresses his thematic presentation with fermatas on the rests at m.17 in the end. What follows is a brief section of transition. Those sequences all start on diminished seventh. This harmonic is really unstable, proceeds in chromatically ascending sequences, and presents a variation of motive A2 at m.25. Although the E flat major chord in mm.24-25 marks the peak of the chromatic rise which began in m.18, it is the result of a illusive cadential move. The dominant seventh on B at bar 24 which prepares E minor rather than E flat major. Liszt avoids affirmation of a key here again. (see example 2) Example 2 m.18-31à ¦Ã…“ ªÃƒ ¥Ã¢â‚¬ËœÃ‚ ½Ãƒ ¥Ã‚ Ã‚ 2.PNG He want a breathtaking arrival on F sharp in m.30, that why he chose the A2 motive for mm.25-29, and why the resolution is postponed , is explained by the first full cadence of this Sonata, finally appeared at bar 30-31. At m.31, Liszt delays the G as an appoggiatura to F sharp, the dominant of B. The entire element from mm.1-32 is an expended harmonic move from G at the beginning, to a implication of B minor (m.13), and the F sharp in m.30, and finally to B minor (m.32). The result is an dramatic cadential progression VI-i-V-I. mm:1-7 9-13 14-16 18-22 22-24 25-30 30-31 32 b: vi à £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬i V/ivà ¢Ã¢â‚¬  Ã¢â‚¬â„¢IV V7 à ¢Ã¢â‚¬  Ã¢â‚¬â„¢ i Liszt uses only two motivic elements, derived from A2 and A3. Regular two bar phrases predominate. The harmonic rhythm has become slow and even, despite the speed of execution in performance, and the marking sempre forte ed agitato. Finally, he uses the subdominant to confirm B minor (Example 3. mm.32-44). Example 3. mm.32-44 Beginning with bar 45, following the tonal presentation of B minor, we can see four sections of transitional material. The first section (bar 45-54) contains of A2 fragments appearing in sequence; second (bar 55-66) and third (bar67-81) sections use motive A2 in the famous passage of octaves, and the fourth (bar 81-104) changes back to A1. At bar 105 first appear new theme B, and the key changes to D major.(Example 4) Theme B comes from Crux fidelis of plain chant. Here it is enough to draw attention to the imaginative phrase structure of this melody-two two- bar units then one five-bar phrase. The harmonic stability of the Grandioso theme in the Sonata is conspicuous by comparison with that of the exposition explored thus far. B minor had been weakened because of its delayed presentation and the use of subdominant rather than dominant confirmation. Although bar 105-119 is prepared for by strong cadential motion, which creates the expectation of an impending tonal plateau firmly seated in the secondary key, this is not in fact what occurs. The stability of D major is only momentary. Example 4: The motive of A2 moves into F major; and then D minor at bar 133-134. The section is static rather than dynamic in the sense of polarized tonal moves; Liszt moves to colorful harmonic areas related to D major. There is an extend of A2 at the section of dolce con grazia at bar 125, the value of note is expanded at right hand. At bar 141-152 , A3 reappears and serves two purposes: First is to provide closure to the tonal deflection, second is to allow a transitional phrase introducing the last structural division of the exposition. The section (bar 153-204) offers a masterful transformation, theme C. Theme C appears at bar 153, this theme C has triggered a heated debate. Lots of scholars thought theme C is variation of A3, so it is not a new theme. However, the atmosphere is totally different, so it can be independent. The aggressive character of the original has become lyrical by means of rhythmic augmentation, a triplet accompaniment, and a new harmonization. At bar 171, the triplet transformed to upper voice, the motive A2 appeared indistinctly on lower voice at bar 179. Liszt reinforced motive A2 by octave chords at bar 205 and 221. Motive A3 appeared from bar 255, the tempo become agitated, from scale to octave parallel. After bar 277, motive A1 developed from bar 275-286, and followed by motive A2. The key modulated dramatically to C sharp minor at bar 297 and theme B appeared. Bar 275-281 Bar 294-302 The end of exposition mainly based on motive A3, some motive A2 modulated to E minor which integrate with A3. The lower voice continued repeating motive A3, and motive A2, the value of note is expanded at the upper voice. Section 2 Development The Andante starts roughly with a new Theme D at bar 331(example 5). A chorale which unfolds in tonal ambiguity as a parallel to the opening of the sonata at bar 1-7. Once again the structural seam is blurred, here by introducing the first chord of the Andante three bars early, then sustaining it until the changes of key, meter and tempo are accomplished silently at bar 331. Tempo is from Andante sostenuto to Quasi Adagio at bar 347, the key modulates to A major and theme C appears at bar 349. Theme B appears at bar 363 as F sharp major and modulates to g minor reappears again at bar 376. This is the only time theme B shows as minor (example 6). After the contrast between upper and lower voice, theme D which only showed twice in development now reaches a climax in development section (example 7). There are lots of diminished seventh and semitone after the climax. The Andante maintains the basic sonata characteristics. A secondary key area in the lowered mediant is presented after the opening tonic statement in F sharp; following two modulatory sections, both the chorale and the secondary material return for reinterpretation in F sharp. Like the first presentation of the chorale, the recapitulation at mm.393ff. likewise makes a gradual approach to the tonic. F sharp is confirmed throughout the remainder of the slow movement, particularly in an attenuated dominant progression at mm. 415-33. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.158 From bar 454, motive A1 becomes a bridge which connects development and recapitulation and at bar 460 Liszt used the term G flat instead of F sharp (enharmonic equivalent) for the changes of the key, which is from F sharp major to B flat minor (example 8). Example 5: Example 6: Example 7: Example 8: Section 3 Recapitulation In the Classical Style, Charles Rosen discusses one fixed rule of sonata recapitulation: material originally exposed in the dominant or dominant substitute must be represented in the tonic fairly completely, even if rewritten and reorderedà ¢Ã¢â€š ¬Ã‚ ¦This is , of course, not a rule at all but a sensitivity to tonal relationships. Liszt conforms to this requirement. After the reinterpretation of secondary key area in the exposition in B major as a muted point of arrival, he omits the tonal deflection and its transitional tail, the bar 153-178 from the exposition are then restated in the tonic (mm.616-614); after m.644, motive A2 modulates, as did the original passage in the exposition. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.154 Why did I choose the fugue section (from bar 460) as a beginning of recapitulation? The structure in section 3 is similar to section 1, and the motives are symmetrical. This is why I choose the fugue section as a beginning of recapitulation. The reason why there is no motive A1 in the beginning, it is because motive A1 have already appeared at the end of development (bar 453-459, example 8), so the recapitulation starts with motive A2 and A3 (example 9). example 9: The fugues counterpoint gradually transforms itself in masterly fashion into a more homophonic texture, a process initiated by the combination of A2, articulated in chords, with A3 (bar502-508). A middle voice, also sounding A3, produces a stretto between the two lower parts. Motive A2 chords take on a more agitated dotted rhythm while the left hand forsakes A3 to take up A2- but in inversion at bar 509. At bar 554 the chromatic flux that introduced the B flat major to G minor to E flat major sequences of motive A2 takes a new turn. Liszt landed on a chord of E flat again, but without the sequence. The chord of E fat accompanies theme A1 (bars 555-560) to develop, however, serves to affirm the tonic of B rather than move away from it. The E flat chord maintains its first inversion bass of G, but upper voices move on to B and E nature, and theme A1 is repeated again. The G bass turns to F sharp, the dominant of B, and motive A2 and A1 alternate in different registers of piano. The var iant of shapes taken by these two motives can stop the inevitable pull to B, its dominant pedal attached in the bass. At bar 673 we hear them A2 in the same position again, but marked Presto with its initial G immediately contradicted by G sharp, simultaneously the beginning of the coda and a reworking of the false recapitulation, now transformed in the original key. Motive A1 increases in momentum to open the doors for a Prestissimo variation of motive A2 and arrive in B major with fff. After setting the entire keyboard ringing with the dominant seventh of B, suddenly breaks off. A silence introduces a recall of the Andante sostenuto in the tonic, its final cadence strangely interrupted (bar 728-729). The bass note has landed on B, nut the upper parts presents the diminished seventh chord of motive A2, the harmony that prepared the way for the Andantes first appearance (bar 328-330). The Andante recall seems to be going into reverse as the bass intones the sinister chatter of motiv e A3 on B. A weak cadence on a chord of B major is darkened twice by a reminder of the dissonant G with which the Sonata began. The final chord progression at bar 754-760 is probably the most remarkable of its type in the piano literature of the entire nineteenth century. A minor and F major are bravely posed for a coloristic approach to B major by thirds. The six four inversion of B major offers an accurate arrangement, the sonority is like bell-ringing, and the rhythm is disoriented. This unstable chord fulfills the function of closure normally supplied by a triad in root position. The root of this B major chord is then repeated in the bass as an unexpected point, just like a punctuation of full stop at the end (example 10). Example 10 In summarizing the relationship between content and form in the Sonata, the evidence of Liszts conscious control is overwhelming. The Sonata exhibits the same sensitive balancing of tonal and thematic elements for which Haydn, Mozart and Beethoven are recognized. The underlying differences issue from the change in the basic chord grammar. Weakening the tonic areas in a sonata form was only one structural manifestation of contemporary attitudes toward form, The expressivity of the sonata procedure had taken on a new dimension. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.164 How do the great pianists think about the structure? The great pianist , Alfred Brendel and Claudio Arrau, they think this sonata is one movement structure. From Alfred Brendels Book Music Sounded Out Alfred Brendel thought this piece as one movement structure including five sections. Claudio Arrau thought this sonata contains six sections. In Joseph Horowitzs Book Conversations with Arrau Arrau said that the mastery of construction sets this sonata apart. In its time such free form in a sonata was completely unknown. How does analysis affect performance? What effect should musics structure have on the way in which music is performed? In particular, how should the results of analysis be conveyed to the listener? One familiar response- at least, the one I have heard most often- asserts that analysis is useful because, knowing what a piece of music contains in terms of structure, the performer can proceed to bring it out. -Rink,J. (1995)The Practice of Performance In Alfred Brendels books: Schunabel always encouraged students to find out as much as possible about the structure, harmonies, motivic technique, used in each score. But there is no basis for interpretation in most of thisà ¢Ã¢â€š ¬Ã‚ ¦.To begin the study of a new work by analyzing its form, in school-term paper fashion, is more harmful than helpfulà ¢Ã¢â€š ¬Ã‚ ¦True analysis is but a clarification and intensification of musical sensitivity, an additional push in the right direction as established by musical instinct. Like Schnabel, I feel that few analytic insights have a direct bearing on performance, and that analysis should be the outcome of an intimate familiarity with the piece rather than an input of established concepts. A more convincing explanation for the genesis of the Sonata appears in an examination of Liszts corpus of one-movement instrumental works from the early fifties. As he discovered unusual formal procedures in the symphonic poems, for example, it seems more likely that he decided to experiment similarly in piano compositions. This hints that solutions to specific structural problems flooded into ideas for the content and architecture of the Sonata. The inspirational source was therefore an internal one, within Liszts own imagination, and related to his current orchestral projects. Liszts perceptive of the classical style, and his acknowledge recognition of a linking Beethovens treatment of form in the late works, and his own in the fifties, is worth examining. His intellectual approach to formal theory suggests an undiscovered avenue for understanding the basic technique of the Sonata. Liszt implemented structural principles adapted from the classical style should prove that the B minor Sonata was bound to tradition more securely than is commonly considered, and that his accomplishment of balance between traditional form and inspirational consent was in fact approached at skillfully.

My Greatest Moment :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  I remember one of the greatest moments of my high school career. I have played lacrosse since seventh grade and every year I’ve gotten a little better, or at least I hope I have. My first year I understood most of the rules, could catch, throw, and pick up ground balls. My second year I understood all the rules, could pass well and put my shots where I wanted them. My third year of lacrosse was the first time I had played a high school sport so I think that I developed my skills much more than ever before.   Ã‚  Ã‚  Ã‚  Ã‚  After playing lacrosse for three years I thought that I was getting fairly decent however I had never scored a goal. All of my freshman year I took good aggressive shots and most of them were on goal. In practice I would put many of my shots behind the goalie but it seemed like the goalies in the games were brick walls. I can remember it like it was yesterday I picked up the ball verses Chantilly at the restraining line and carried it to the right corner of the box. The right side is my best side for taking shots; I have a fairly strong right hand with my stick. I took my man one on one, I tried to go outside and he was there so I went on the inside of the defender. He wasn’t ready and I had an open shot about fifteen feet out from the goal, I took it. In an instant the Chantilly goalie was on his knees with his stick in the dust. I felt like the world was paused. Then very slowly I saw him get up and pass the ball to his teammate who took off for our side. He had saved the last shot I would take for that season.   Ã‚  Ã‚  Ã‚  Ã‚  The whole year after I spent time getting in shape and working on my stick skills. At least twice a week I would go and shoot at the tennis courts that were near my house. I worked and worked at getting to be the best lacrosse player I could be. I wanted to know what it felt like to have my name and number announced over the whole field and possibly if I did my very best over the P.A. system in school the next morning.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  * * *   Ã‚  Ã‚  Ã‚  Ã‚  During the off-season after my freshman year the head coach, Coach La Chance, was replaced.

Nutritional needs Essay

Protein 4 calories/ g 0.8 g / kg / day Meat Fish Chicken Eggs Dairy Insufficient intake leads to muscle wasting and atrophy Carbohydrates 4 calories / g Starches Sugars (fructose, glucose, lactose, sucrose) and cellulose Fruits Vegetables Milk Grains Insufficient intake results in protein and fat metabolism Fats 9 calories / g Needed for ADEK vitamin absorption Animal products Egg yolks Organ meats (except liver) Butter Cheese Oils Insufficient intake increases risk of infection, skin lesions, amenorrhea, and cold sensitivity Thiamin (B1) Pork Wheat germ Fortified cereals Insufficiency leads to Beriberi, Wernicke-Korsakoff syndrome Riboflavin (B2) Milk Enriched grains Insufficiency leads to Ariboflavinosis Niacin (B3) Peanuts Legumes Enriched grains Insufficiency leads to diarrhea, dementia, dermatitis Cobalamin (B12) Animal protein Insufficiency leads to pernicious anemia Folic Acid Orange juice Meat Leafy green vegetables Insufficiency leads to anemia and neural tube defects Ascorbic Acid (Vitamin C): wound healing, hormone synthesis Citrus fruits Insufficiency leads to scurvy, bleeding gums Vitamin A: vision, tissue growth, immune, reproductive function Animal foods Fruits Vegetables Fortified milk Insufficiency leads to night blindness, xerophthalmia Vitamin D: calcium and phosphorus metabolism, PTH, kidney Dairy Fortified food sources Insufficiency leads to rickets, osteomalacia Vitamin E: antioxidant, immune Vegetable oil Peanuts Margarine Insufficiency leads to hemolysis of RBCs Vitamin K: blood clotting Liver Leafy green vegetables Insufficiency leads to hemorrhage Potassium Apricots Avocado Bananas Cantaloupes Raw carrots Peas / Dried beans Dried fruits Oranges Peanuts Potatoes Prune juice Spinach Tomatoes Winter squash Calcium (also use for kidney stones) Chocolate Dairy Beans Lentils Dried fruits Canned / smoked fish (except tuna) Flour Cocoa Green leafy vegetables Tyramine / Dopamine Restrictions (for people taking MAOIs) Aged Cheese Chocolate Smoked fish Processed meats Bananas Liver Fava beans Soy sauce Purine (gout / uric acid stones) Organ meats Anchovies Sardines Salmon Herring Venison Goose Beef, chicken, pork, veal should be limited because they contain purine Alcohol Seafood Oxalates (kidney stones) Asparagus Beets Celery Cabbage Dark green leafy vegetables Fruits Tomatoes Green beans Chocolate Cocoa Beer Cola Nuts Tea Acid-Ash Foods (will acidify urine to prevent UTI and avoid if patient has acidic stones) Cranberries Plums Grapes Prunes Tomatoes Eggs Cheese Whole grains Meat Poultry

Definition of the Biology Prefix Eu-

The prefix (eu-) means good, well, pleasant or true. It is derived from the Greek eu meaning well and eus meaning good. Examples Eubacteria (eu - bacteria) - kingdom in the bacteria domain. Bacteria are considered to be true bacteria, distinguishing them from archaebacteria. Eucalyptus (eu - calyptus) - a genus of evergreen tree, commonly called gum trees, that are used for wood, oil, and gum. They are so named because their flowers are well (eu-) covered (calyptus) by a protective cap. Euchlorine (eu - chlorine) - an older, outdated chemistry based term that refers to a chlorine based gas which was composed of both chlorine and chlorine dioxide. Euchromatin (eu - chroma - tin) - a less compact form of chromatin found in the cell nucleus. Chromatin decondenses to allow DNA replication and transcription to occur. It is called true chromatin because it is the active region of the genome. Eudiometer (eu - dio - meter) - an instrument designed to test the goodness of air. It is used to measure gas volumes in chemical reactions. Eudiploid (eu -diploid) - refers to an organism that is both diploid and euploid. Euglena (eu - glena) - single-celled protists with a true nucleus (eukaryote) that have characteristics of both plant and animal cells. Euglobulin (eu - globulin) - a class of proteins known as true globulins because they are soluble in saline solutions but insoluble in water. Euglycemia (eu - gly - cemia) - a medical term that refers to a person who has a normal level of glucose in their bloodstream. Eukaryote (eu - kary - ote) - organism with cells containing a true membrane bound nucleus. Eukaryotic cells include animal cells, plant cells, fungi and protists. Eupepsia (eu - pepsia) - describes good digestion due to having the appropriate amount of pepsin (gastric enzyme) in gastric juice. Eupeptic (eu - peptic) - of or relating to good digestion based on having the correct amount of gastric enzymes. Euphenics (eu - phenics) - the practice of making physical or biological changes in order to address a genetic disorder. The term means good appearance and the technique involves making phenotypic changes that dont alter a persons genotype. Euphony (eu - phony) - agreeable sounds that are pleasing to the ear. Euphotic (eu - photic) - relating to the zone or layer of a body of water that is well lit and receives enough sunlight for photosynthesis to occur in plants. Euplasia (eu - plasia) - the normal condition or state of cells and tissues. Euploid (eu - ploid) - having the correct number of chromosomes that corresponds to an exact multiple of the haploid number in a species. Diploid cells in humans have 46 chromosomes, which is twice the number found in the haploid gametes. Eupnea (eu - pnea) - good or normal breathing that is sometimes referred to as quiet or unlabored breathing. Eurythermal (eu - ry - thermal) - having the ability to tolerate a wide range of environmental temperatures. Eurythmic (eu - rythmic) - having a harmonious or pleasing rhythm. Eustress (eu - stress) - a healthy or good level of stress that is considered beneficial. Euthanasia (eu - thanasia) - the practice of ending a life in order to alleviate suffering or pain. The word literally means a good death. Euthyroid (eu - thyroid) - the condition of having a well functioning thyroid gland. In contrast, having an overactive thyroid is known as hyperthyroidism and having an underactive thyroid is known as hypothyroidism. Both hyperthyroidism and hypothyroidism can lead to a number of serious health consequences. Eutrophic (eu - trophic) - a term typically used for a body of water such as a pond or lake that has a bevy of organic nutrients that can promote aquatic plant and algae growth. This growth can lead to a reduction in the level of oxygen in the body of water that can have adverse consequences for animals that live in the water. Eutrophy (eu - trophy) - the state of being healthy or having well balanced nutrition and development. Euvolemia (eu - vol - emia) - the state of having the proper amount of blood or fluid volume in the body.