What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire

For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.

A Search for Muon Neutrinos in Coincidence with Gamma-Ray Bursts in the Southern Hemisphere Sky Using the IceCube Neutrino Observatory

The origin of observed ultra-high energy cosmic rays (UHECRs, energies in excess of $10^{18.5}$ eV) remains unknown, as extragalactic magnetic fields deflect these charged particles from their true origin. Interactions of these UHECRs at their source would invariably produce high energy neutrinos. As these neutrinos are chargeless and nearly massless, their propagation through the universe is unimpeded and their detection can be correlated with the origin of UHECRs. Gamma-ray bursts (GRBs) are one of the few possible origins for UHECRs, observed as short, immensely bright outbursts of gamma-rays at cosmological distances. The energy density of GRBs in the universe is capable of explaining the measured UHECR flux, making them promising UHECR sources. Interactions between UHECRs and the prompt gamma-ray emission of a GRB would produce neutrinos that would be detected in coincidence with the GRB’s gamma-ray emission. The IceCube Neutrino Observatory can be used to search for these neutrinos in coincidence with GRBs, detecting neutrinos through the Cherenkov radiation emitted by secondary charged particles produced in neutrino interactions in the South Pole glacial ice. Restricting these searches to be in coincidence with GRB gamma-ray emis- sion, analyses can be performed with very little atmospheric background. Previous searches have focused on detecting muon tracks from muon neutrino interactions fromthe Northern Hemisphere, where the Earth shields IceCube’s primary background of atmospheric muons, or spherical cascade events from neutrinos of all flavors from the entire sky, with no compelling neutrino signal found. Neutrino searches from GRBs with IceCube have been extended to a search for muon tracks in the Southern Hemisphere in coincidence with 664 GRBs over five years of IceCube data in this dissertation. Though this region of the sky contains IceCube’s primary background of atmospheric muons, it is also where IceCube is most sensitive to neutrinos at the very highest energies as Earth absorption in the Northern Hemisphere becomes relevant. As previous neutrino searches have strongly constrained neutrino production in GRBs, a new per-GRB analysis is introduced for the first time to discover neutrinos in coincidence with possibly rare neutrino-bright GRBs. A stacked analysis is also performed to discover a weak neutrino signal distributed over many GRBs. Results of this search are found to be consistent with atmospheric muon backgrounds. Combining this result with previously published searches for muon neutrino tracks in the Northern Hemisphere, cascade event searches over the entire sky, and an extension of the Northern Hemisphere track search in three additional years of IceCube data that is consistent with atmospheric backgrounds, the most stringent limits yet can be placed on prompt neutrino production in GRBs, which increasingly disfavor GRBs as primary sources of UHECRs in current GRB models.

Falling Out of the Sky

“Falling Out of the Sky” is a collection of poems, both formal and free verse, that explores an intimate familial landscape. In particular, these poems raise the question of what it means to be human through examinations of family mythology and its changes as bodies and memories become unreliable with time.