The Performance of Elliptic Curve Based Group Diffie-Hellman Protocols for Secure Group Communication over Ad Hoc Networks

The security of the two party Diffie-Hellman key exchange protocol is currently based on the discrete logarithm problem (DLP). However, it can also be built upon the elliptic curve discrete logarithm problem (ECDLP). Most proposed secure group communication schemes employ the DLP-based Diffie-Hellman protocol. This paper proposes the ECDLP-based Diffie-Hellman protocols for secure group communication and evaluates their performance on wireless ad hoc networks. The proposed schemes are compared at the same security level with DLP-based group protocols under different channel conditions. Our experiments and analysis show that the Tree-based Group Elliptic Curve Diffie-Hellman (TGECDH) protocol is the best in overall performance for secure group communication among the four schemes discussed in the paper. Low communication overhead, relatively low computation load and short packets are the main reasons for the good performance of the TGECDH protocol.

Active Learning to Maximize Area Under the ROC Curve

In active learning, a machine learning algorithmis given an unlabeled set of examples U, and is allowed to request labels for a relatively small subset of U to use for training. The goal is then to judiciously choose which examples in U to have labeled in order to optimize some performance criterion, e.g. classification accuracy. We study how active learning affects AUC. We examine two existing algorithms from the literature and present our own active learning algorithms designed to maximize the AUC of the hypothesis. One of our algorithms was consistently the top performer, and Closest Sampling from the literature often came in second behind it. When good posterior probability estimates were available, our heuristics were by far the best.

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.

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