Directed Test Suite Augmentation

As software evolves, engineers use regression testing to evaluate its fitness for release. Such testing typically begins with existing test cases, and many techniques have been proposed for reusing these cost-effectively. After reusing test cases, however, it is also important to consider code or behavior that has not been exercised by existing test cases and generate new test cases to validate these. This process is known as test suite augmentation. In this paper we present a directed test suite augmentation technique, that utilizes results from reuse of existing test cases together with an incremental concolic testing algorithm to augment test suites so that they are coverage-adequate for a modified program. We present results of an empirical study examining the effectiveness of our approach.

A Controlled Experiment Assessing Test Case Prioritization Techniques via Mutation Faults

Regression testing is an important part of software maintenance, but it can also be very expensive. To reduce this expense, software testers may prioritize their test cases so that those that are more important are run earlier in the regression testing process. Previous work has shown that prioritization can improve a test suite’s rate of fault detection, but the assessment of prioritization techniques has been limited to hand-seeded faults, primarily due to the belief that such faults are more realistic than automatically generated (mutation) faults. A recent empirical study, however, suggests that mutation faults can be representative of real faults. We have therefore designed and performed a controlled experiment to assess the ability of prioritization techniques to improve the rate of fault detection techniques, measured relative to mutation faults. Our results show that prioritization can be effective relative to the faults considered, and they expose ways in which that effectiveness can vary with characteristics of faults and test suites. We also compare our results to those collected earlier with respect to the relationship between hand-seeded faults and mutation faults, and the implications this has for researchers performing empirical studies of prioritization.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton