Spatial and Temporal Dynamics of Larval Atlantic Menhaden on the East Coast of the United States

Atlantic Menhaden Brevoortia tyrannus is a commercially and ecologically important forage fish abundant on the Atlantic Coast of the United States. We conducted spatial and temporal analyses of larval Atlantic Menhaden using data collected from two large-scale ichthyoplankton programs during 1977-1987 and 1999-2013 to construct indices of larval abundance and survival over time, evaluate how environmental factors affect early life survival, and examine how larvae are distributed in space to gain knowledge on spawning and larval dispersal. Over time, we found larval abundance to increase, while early life survival declined. Coastal temperature, wind speed, and Atlantic Multidecadal Oscillation were found to potentially explain some of this decline in survival. Over both periods, we found evidence spawning predominantly occurs near shore, from New York to North Carolina, increasing in intensity southwards. While the general spatial patterns were consistent, we observed some localized variation and overall expansion of occupied area by larvae.

The New Jersey Meadowlands: Inhabiting an Urban Wilderness

The New Jersey Meadowlands is a thirty square mile industrial wetland between New York City and the commercial district of East Rutherford, NJ. The place is both strange and fascinating; many mysteries are hidden between the reed grasses and scattered garbage. Often exposed to subjectivity, the Meadowlands is commonly perceived as a weird, polluted, industrial, and even an other-worldly space; few know its beauty. These differing perceptions create a challenge when thinking of a cohesive identity and sense of place in the marsh. Over time, the once pure landscape has suffered from infrastructural slices, illegal dumping, and environmental abuse, resulting in fragmented land areas along the Hackensack River’s edge. This thesis explores how to inhabit an ecologically devalued and residual landscape through ideas of place-making and re-connecting communities. Investigating the paradox of this massive urban landscape and capitalizing on the ecological and educational potential of the site, lends also to a challenge of converging modern and forgotten life. Designing a place-based ecological research community within this currently placeless environment, will engage the public, re-connect lost communities, and bring a sense of renewal to the marsh.

Selected Solo Music for Saxophone by United States Composers: 1975-2005

This dissertation project identifies important works for solo saxophone by United States composers between 1975 and 2005. The quality, variety, expressiveness, and difficulty of the solo saxophone repertoire during these thirty years is remarkable and remedies, to some extent, the fact that the saxophone had been a largely neglected instrument in the realm of classical music. In twentieth-century music, including Jazz, the saxophone developed, nevertheless, a unique and significant voice as is evident in the saxophone repertoire that expands immensely in many instrumental settings, including the orchestra, solo works, and a wide variety of chamber ensembles. Historically, the saxophone in the United States first found its niche in Vaudeville, military bands, and jazz ensembles, while in Europe composers such as Debussy, D'Indy, Schmitt, Ibert, Glazounov, Heiden, and Desenclos recognized the potential of the instrument and wrote for it. The saxophone is well suited to the intimacy and unique timbral explorations of the solo literature, but only by the middle twentieth century did the repertoire allow the instrument to flourish into a virtuosic and expressive voice presented by successive generations of performers – Marcel Mule, Sigurd Rascher, Cecil Leeson, Jean-Marie Londeix, Fred Hemke, Eugene Rousseau, and Donald Sinta. The very high artistic level of theses soloists was inspiring and dozens of new compositions were commissioned. Through the 1960’s American composers such as Paul Creston, Leslie Bassett, Henry Cowell, Alec Wilder, and others produced eminent works for the saxophone, to be followed by an enormous output of quality compositions between 1975 and 2005. The works chosen for performance were selected from thousands of compositions between 1975 and 2005 researched for this project. The three recital dates were: April 6, 2005, in Gildenhorn Recital Hall, December 4, 2005, in Ulrich Recital Hall, and April 15, 2006, in Gildenhorn Recital Hall. Recordings of these recitals may be obtained in person or online from the Michelle Smith Performing Arts Library of the University of Maryland, College Park.

VINTAGE MODERNISM: EARLY EXPERIMENTALIST MUSIC FOR VIOLIN IN THE UNITED STATES

The historical narrative of concert music in the early twentieth century has focused a great deal on the influence of European composers as well as the American composers who went to Europe to study. Often overlooked, however, is the influence of an entire generation of composers working in the United States during that time period. These artists experimented with polyrhythm, polytonality, dissonant counterpoint, and a whole host of other musical techniques in order to express their perceptions of a changing world. Over the years, the new techniques became associated with various movements including futurism, experimentalism and ultramodernism. Regardless of label, these composers were some of the first to introduce the new musical styles to the listening public.The recitals that make up this dissertation explore the sound world of experimentalist composers working in the United States during the early twentieth century. Serving as the foundation of these recitals are all four of the violin sonatas by Charles Ives, the “grandfather” of modernist music whose financial support helped to foster a whole generation of American composers. Also prominently featured is the music of Henry Cowell. His Suite for Violin and Piano, Mosaic Quartet (String Quartet No. 3), and Quartet Euphometric demonstrate the composer's use of cluster tones, dissonant counterpoint, polymeter, and indeterminate form. Additional works by George Antheil, Leo Ornstein, Wallingford Riegger, Dane Rudhyar, Carl Ruggles, and Ruth Crawford (Seeger) highlight other approaches taken by members of the ultra-modernist movement. Rounding out the repertoire for these recitals are works by Johanna Beyer and Conlon Nancarrow, both of whom either worked with or were influenced by Cowell in some way. All of the pieces selected date roughly from 1900 to the mid 1930's. Thus, the purpose of these recitals is not to provide a comprehensive overview of each composer's development, but rather to examine the influence and interconnections of a specific cross-section of the musical landscape.