COLLABORATIVE TESTING ACROSS SHARED SOFTWARE COMPONENTS

Large component-based systems are often built from many of the same components. As individual component-based software systems are developed, tested and maintained, these shared components are repeatedly manipulated. As a result there are often significant overlaps and synergies across and among the different test efforts of different component-based systems. However, in practice, testers of different systems rarely collaborate, taking a test-all-by-yourself approach. As a result, redundant effort is spent testing common components, and important information that could be used to improve testing quality is lost. The goal of this research is to demonstrate that, if done properly, testers of shared software components can save effort by avoiding redundant work, and can improve the test effectiveness for each component as well as for each component-based software system by using information obtained when testing across multiple components. To achieve this goal I have developed collaborative testing techniques and tools for developers and testers of component-based systems with shared components, applied the techniques to subject systems, and evaluated the cost and effectiveness of applying the techniques. The dissertation research is organized in three parts. First, I investigated current testing practices for component-based software systems to find the testing overlap and synergy we conjectured exists. Second, I designed and implemented infrastructure and related tools to facilitate communication and data sharing between testers. Third, I designed two testing processes to implement different collaborative testing algorithms and applied them to large actively developed software systems. This dissertation has shown the benefits of collaborative testing across component developers who share their components. With collaborative testing, researchers can design algorithms and tools to support collaboration processes, achieve better efficiency in testing configurations, and discover inter-component compatibility faults within a minimal time window after they are introduced.

The Emergence of Spanish Impressionism and its Interaction with French Impressionism in Music at the Turn of the Twentieth Century: selections from the solo and collaborative piano repertoire

French Impressionism is a term which is often used in discussing music originating in France towards the end of the nineteenth century. The term Spanish Impressionism could also be used when discussing Spanish music written by the Spanish composers who studied and worked in Paris at the same time as their French counterparts. After all, Spanish music written during this time exhibits many of the same characteristics and aesthetics as French music of the same era. This dissertation will focus on the French and Spanish composers writing during that exciting time. Musical impressionism emphasizes harmonic effects and rhythmic fluidity in the pursuit of evocative moods, sound pictures of nature or places over the formalism of structure and thematic concerns. The music of this time is highly virtuosic as well as musically demanding, since many of the composers were brilliant pianists. My three dissertation recitals concentrated on works which exhibited the many facets of impressionism as well as the technical and musical challenges. The repertoire included selections by Spanish composers Manuel de Falla, Isaac Albéniz, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo and French composers Claude Debussy and Maurice Ravel. The recitals were on April 30, 2013, February 23, 2014 and October 11, 2015. They included solo piano works by Granados and Albéniz, vocal works by Debussy, Ravel, de Falla, Turina and Rodrigo, piano trios by Granados and Turina, instrumental duos by Debussy, Ravel and de Falla, and a two-piano work of Debussy transcribed by Ravel. All three recitals were held in Gildenhorn Recital Hall at the University of Maryland and copies of this dissertation and recordings of each recital may be found through the Digital Repository at the University of Maryland (DRUM).

Cooperative Design, Cooperative Science: Investigating Collaborative Research through Design with Floracaching

This dissertation presents a case study of collaborative research through design with Floracaching, a gamified mobile application for citizen science biodiversity data collection. One contribution of this study is the articulation of collaborative research through design (CRtD), an approach that blends cooperative design approaches with the research through design methodology (RtD). Collaborative research through design is thus defined as an iterative process of cooperative design, where the collaborative vision of an ideal state is embedded in a design. Applying collaborative research through design with Floracaching illustrates how a number of cooperative techniques—especially contextual inquiry, prototyping, and focus groups—may be applied in a research through design setting. Four suggestions for collaborative research through design (recruit from a range of relevant backgrounds; take flexibility as a goal; enable independence and agency; and, choose techniques that support agreement or consensus) are offered to help others who wish to experiment with this new approach. Applying collaborative research through design to Floracaching yielded a new prototype of the application, accompanied by design annotations in the form of framing constructs for designing to support mobile, place-based citizen science activities. The prototype and framing constructs, which may inform other designers of similar citizen science technologies, are a second contribution of this research.

Pairings: Quintets and Duos from the Collaborative Piano Repertoire

Chamber music with piano comprises some of the greatest masterpieces in the Western canon. The works range from duo sonatas with various instruments through septets. In regard to duo sonatas, the violin is the instrument most frequently paired with the piano. Of all the chamber works for larger ensembles, the most popular is the quintet. In this dissertation, I will be exploring the similarities and differences between the duo sonatas and quintets of a given composer. I will be surveying Robert Schumann’s Piano Quintet in E-flat Major, Op. 44 along with his Violin and Piano Sonata in A Minor, Op. 105. The next pairing will be Johannes Brahms’ Piano Quintet in F Minor, Op. 34 and his Piano and Violin Sonata in D Minor, Op. 108. Dmitri Shostakovich’s Piano Quintet in G Minor, Op. 57 and his Cello and Piano Sonata in D Minor, Op. 40 will be the last two works examined in this dissertation. This dissertation project consisted of three recitals, presented in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland. The recitals featured works by Johannes Brahms, Robert Schumann and Dmitri Shostakovich and took place on March 14, 2014, February 13, 2015 and November 22, 2015. All three recitals were recorded on compact discs, which can be accessed at the Digital Repository at the University of Maryland (DRUM) and at the University of Maryland Hornbake Library.

RACHMANINOFF AND MEDTNER: SELECTED WORKS FROM THE SOLO AND COLLABORATIVE PIANO REPERTOIRE

Sergei Rachmaninoff and Nikolai Medtner occupy a special place in the history of Russian music. Both composers were exceptional pianists and left us some of the greatest works in the piano repertoire. Although these composers shared many similarities, and were often compared, their musical languages and views on composition were very different. Unfortunately, Medtner’s music, which Rachmaninoff admired greatly, has remained neglected for several generations of performers and listeners. In my dissertation I will explore the similarities and contrasts in Rachmaninoff’s and Medtner’s music. Through these performances, I hope to encourage other musicians to discover the imaginative power of Medtner’s music. Of course, no such encouragement is needed for Rachmaninoff’s extremely popular music; however, the technical and musical challenges of performing that repertoire are an invaluable part of every pianist’s education. This dissertation project was presented in three recitals which were performed in Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland on May 8, 2014, December 5, 2014 and March 21, 2016. The following pieces comprised the survey of Rachmaninoff music: Vocalise Op. 34, Variations on a Theme of Corelli Op. 42, Piano Concerto No 2 Op. 18, Selected Songs Opp. 4 and 8, and two Moments Musicaux Op. 16 - Nos 3 and 4. The following pieces were included to represent Medtner: Sonata for Violin and Piano Op. 57 in E minor “Epica”, Fairy Tales for solo piano Op. 20 No 1, Op. 26 No 3 and Op. 51 No 1, and Selected Songs Op. 6 and 15. My partners in this project were Lilly Ahn, soprano, Jennifer Lee, violin and Nadezhda Christova, piano. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Cultivating Collaborative Relationships: A Case Study of Teacher Collaboration and Professional Development

Students often receive instruction from specialists, professionals other than their general educators, such as special educators, reading specialists, and ESOL (English Speakers of Other Languages) teachers. The purpose of this study was to examine how general educators and specialists develop collaborative relationships over time within the context of receiving professional development. While collaboration is considered essential to increasing student achievement, improving teachers’ practice, and creating comprehensive school reform, collaborative partnerships take time to develop and require multiple sources of support. Additionally, both practitioners and researchers often conflate collaboration with structural reforms such as co-teaching. This study used a retrospective single case study with a grounded theory approach to analysis. Data were collected through semi-structured interviews with thirteen teachers and an administrator after three workshops were conducted throughout the school year. The theory, Cultivating Interprofessional Collaboration, describes how interprofessional relationships grow as teachers engage in a cycle of learning, constructing partnership, and reflecting. As relationships deepen some partners experience a seamless dimension to their work. A variety of intrapersonal, interpersonal, and external factors work in concert to promote this growth, which is strengthened through professional development. In this theory, professional development provides a common ground for strengthening relationships, knowledge about the collaborative process, and a reflective space to create new collaborative practices. Effective collaborative practice can lead to aligned instruction and teachers’ own professional growth. This study has implications for school interventions, professional development, and future research on collaboration in schools.