Solo and Chamber Music of Pulitzer Prize-Winning Composers

The Pulitzer Prize in Music, established in 1943, is one of America's most prestigious awards. It has been awarded to fifty-three composers for a "distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year." Composers who have won the Pulitzer Prize are considered to be at the pinnacle of their creativity and have provided the musical world with classical music compositions worthy of future notice. By tracing the history of Pulitzer Prize-winning composers and their compositions, researchers and musicians enhance their understanding of the historical evolution of American music, and its impact on American culture. Although the clarinet music of some of these composers is rarely performed today, their names will be forever linked to the Pulitzer, and because of that, their compositions will enjoy a certain sense of immortality. Of the fifty-four composers who have won the award, forty-seven have written for the clarinet in a solo or chamber music setting (five or less instruments). Just as each Pulitzer Prize-winning composition is a snapshot of the state of American music at that time, these works trace the history of American clarinet musical development, and therefore, they are valuable additions to the clarinet repertoire and worthy of performance. This dissertation project consists of two recitals featuring the solo and chamber clarinet music of sixteen Pulitzer Prize-winning composers, extended program notes containing information on each composer's life, their music, the Pulitzer Prize-winning composition and the recital selection, and a complete list of all Pulitzer Prize-winning composers and their solo and chamber clarinet music. Featured Composers Dominick Argento, To Be Sung Upon the Water Leslie Bassett, Soliloquies William Bolcom, Little Suite of Four Dances Aaron Copland, As it Fell Upon a Day John Corigliano, Soliloquy Norman Dello Joio, Concertante Morton Gould, Benny's Gig Charles Ives, Largo Douglas Moore, Quintet for Clarinet and Strings George Perle, Three Sonatas Quincy Porter, Quintet for Clarinet and Strings Mel Powell, Clarinade Shulamit Ran, Private Game Joseph Schwantner, Entropy Leo Sowerby, Sonata Ernst Toch, Adagio elegiaco

Interaction of Acoustic Waves with a Laminar Line-Flame

A systematic study was conducted to elucidate the effects of acoustic perturbations on laminar diffusion line-flames and the conditions required to cause acoustically-driven extinction. Flames were produced from the fuels n-pentane, n-hexane, n-heptane, n-octane, and JP-8, using fuel-laden wicks. The wicks were housed inside of a burner whose geometry produced flames that approximated a two dimensional flame sheet. The acoustics utilized ranged in frequency between 30-50 Hz and acoustic pressures between 5-50 Pa. The unperturbed mass loss rate and flame height of the alkanes were studied, and they were found to scale in a linear manner consistent with Burke-Schumann. The mass loss rate of hexane-fueled flames experiencing acoustic perturbations was then studied. It was found that the strongest influence on the mass loss rate was the magnitude of oscillatory air movement experienced by the flame. Finally, acoustic perturbations were imposed on flames using all fuels to determine acoustic extinction criterion. Using the data collected, a model was developed which characterized the acoustic conditions required to cause flame extinction. The model was based on the ratio of an acoustic Nusselt Number to the Spalding B Number of the fuel, and it was found that at the minimum speaker power required to cause extinction this ratio was a constant. Furthermore, it was found that at conditions where the ratio was below this constant, a flame could still exist; at conditions where the ratio was greater than or equal to this constant, flame extinction always occurred.