Reclaiming the Fall Zone: Mediating Physical and Cultural Exchange in Richmond, VA

This thesis will address cultural and physical place reclamation, at the ambiguous intersection of ‘city’ and nature.’ By creating a juxtaposed sequence of multi-scalar interventions, which challenge the conventional boundaries of architecture, and landscape architecture; in order to make commonplace a new dynamic threshold condition in Richmond, Virginia. At its core, this thesis is an attempt at place-making on a site which has become ‘no place.’ This concept will be manifest via a landscape park on Mayo Island in Richmond, anchored by a community retreat center, and architectural follies along a constructed path. The interventions will coincide with value of place in historical Richmond: an integrated, socially desegregated waterfront hinge; a social nexus of inherent change, at the point which the river itself changes at the fall line.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

The feminine soul: love, courage, and sacrifice in three centuries of vocal repertoire

Music is a unique form of communication. It sings from soul to soul, touching each of us in uniquely different ways. While researching the life of Clara Schumann, I became intrigued with the idea that feminine qualities, as expressed by her music, could be found in other composers work for the soprano voice. I explored this possibility in a lecture recital and followed up this work by performing two operatic roles and a recital.

VIRTUOSIC ELEMENTS IN THE COLLABORATIVE PIANIST’S REPERTOIRE: SELECTED SOLO, VOCAL, AND CHAMBER WORKS OF RACHMANINOFF AND RAVEL

This dissertation project explores some of the technical and musical challenges that face pianists in a collaborative role—specifically, those challenges that may be considered virtuosic in nature. The material was chosen from the works of Rachmaninoff and Ravel because of the technically and musically demanding yet idiomatic piano writing. This virtuosic piano writing also extends into the collaborative repertoire. The pieces were also chosen to demonstrate these virtuosic elements in a wide variety of settings. Solo piano pieces were chosen to provide a point of departure, and the programmed works ranged from vocal to two-piano, to sonatas and a piano trio. The recitals were arranged to demonstrate as much contrast as possible, while being grouped by composer. The first recital was performed on April 24, 2009. This recital featured five songs of Rachmaninoff, as well as three solo piano preludes and his Suite No. 2 for two pianos. The second recital occurred on November 16, 2010. This recital featured the music of both Rachmaninoff and Ravel, as well as a short lecture introducing the solo work “Ondine” from Gaspard de la nuit by Ravel. Following the lecture were the Cinq mélodies populaires grecques and the program closed with the substantial Rachmaninoff Sonata for Cello and Piano. The final program was given on October 10, 2011. This recital featured the music of Ravel, and it included his Sonata for Violin and Piano, the Debussy Nocturnes transcribed for two pianos by Ravel, and the Piano Trio. The inclusion of a transcription of a work by another composer highlights Ravel’s particular style of writing for the piano. All of these recitals were performed at the Gildenhorn Recital Hall in the Clarice Smith Performing Arts Center at the University of Maryland. The recitals are recorded on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

An Investigation into the Efficacy of a pH-Sensitive Material for Milk Spoilage Detection

Ambiguous expiration dates on milk cartons can mislead consumers into prematurely disposing unspoiled milk and potentially drinking spoiled milk. These misconceptions can lead to wastage that harms the environment, or potential discomfort and illness. The incorporation of pH-sensitive indicators into plastic milk cartons has the potential to replace stamped expiration dates as the traditional method of milk spoilage indication. We studied the correlation between bacteria count and milk pH to establish pH measurement as an effective indicator of milk quality. We then developed a method for incorporating bromothymol blue, a pH-sensitive color-changing dye, into a hydrogel made of polyacrylamide. This hydrogel can be added to existing packaging for milk or other products with detectable pH changes. Additionally, we conducted a consumer survey and analyzed current food packaging trends in the market. Our research indicates that a spoilage-indicating milk carton could have strong market potential as food industries increasingly adopt intelligent packaging designs.

Online and Traditional Lectures: Evaluating Effects of Social Presence and Learner Control

Online courses are rapidly replacing traditional, face-to-face lectures in American universities (Allen & Seaman, 2011). As technology improves, this trend will likely continue and accelerate. Researchers must evaluate the impact of online courses compared to their traditional counterparts. This two-part study quantifies the effect of two variables – social presence and learner control – on students’ recall, application and perceived learning levels in different lecture formats. Students in introductory courses at a four-year, public, American university were randomly assigned into three groups to view distinct lecture formats, one in a traditional classroom and two via the Internet. Upon viewing the single lecture, the students were asked to fill out a test and survey to quantify teacher immediacy, recall and application, and perceived learning levels across lecture formats. The study found that different levels of social presence and learner control affected students’ perceived learning levels but did not impact recall or application.

The Voyage of Impressionism in Three Violin Recitals: To See the World in Different Colors

Impressionism serves as the transition between romantic and modern music. This dissertation examines the varying characteristics and colors of Impressionism in the works of late-romantic French composers, French Impressionistic composers, and composers with Impressionistic influence from countries other than France. Violin Sonata in g minor, L. 140 (1917) is the last work composed by Claude Debussy. The impressionistic characters in this work includes the ambiguous yet innovative and variant sonority and form. As a work also written in 1917, Ottorino Respighi's Violin Sonata in b minor is deeply rooted in Italian Romanticism. Some of the Impressionistic characters can be found in the second movement where the harmonies are in parallel motion. César Franck, a forerunner of impressionism, heavily influenced Debussy with the use of cyclic form. The Violin Sonata in A major (1886) is rich in harmonic language. Ernest Chausson's works mark the transition between Franck and Debussy. The Poème portrays a love story, Song of Love Triumphant by Turgenev. The work is a symphonic poem for violin and orchestra. The Mythes, Op. 30 (1915) by Karol Szymanowski is based on Greek mythology. Ravel's Sonata for Violin and Cello (1922), dedicated to Debussy, points to the future with a sophisticated harmonic language extending into atonality, spare texture, and expanded palate of impressionistic colors and techniques. Ernest Bloch's Violin Sonata No. 1 (1920) portrays the feeling of torment. Beneath the soaring cries of the violin, the harmonic sonority of Impressionism are present. Gabriel Fauré's Violin Sonata No. 1 in A major, op. 13 (1876) is the earliest work of this project. The scherzo movement became a prototype for future scherzo movements for Ravel and Debussy. Ravel's Tzigane (1924), at once a paragon of French impressionism, a delightful gypsy-style dance-fantasy, and a breathtaking virtuoso piece, is the perfect conclusion to my dissertation project. The pieces discussed above were presented in three recitals. Compact disc recordings of these recitals are available in the Michelle Smith Performing Arts Library of the Clarice Smith Performing Arts Center at the University of Maryland.