The Evolution of the Russian Romance Through the Nineteenth and Twentieth centuries

This performance dissertation traced the evolution of the Russian romance from 1800 to the present. The Russian romance is a relatively unknown and greatly neglected genre of classical art songs. It is commonly believed that the Russian romance began with Dargomizhsky and Glinka proceeding directly to Tchaikovsky and Rachmaninoff. Forgotten are the composers before Dargornizhsky and Glinka, the bridge composers, and the post-Tchaikovsky and post-Rachmaninoff composers. This may be, in part, because of the difficulties in obtaining Russian vocal scores. While most of the musical world is acquainted with the magnificent Russian instrumental music, the "true soul" of the Russian people lies in its romances. I presented examples of the two different schools of composition, reflecting their philosophical differences in thinking that came about in the 1860s: (1) Russian National school, (2) Western European school. Each school's influence on generations of Russian composers and their pupils have been represented in the recital programs. Also represented was the effect of the October Revolution on music and the voice of the Russian people, Anna Akhmatova. The amount of music that could be included in this dissertation greatly exceeds the amount of available performance time and represents a selected portion of the repertoire. The first recital included repertoire from the beginning of the romance in the early nineteenth century to the beginning of the twentieth century and the second recital focused on the music of the twentieth century, pre and post, the October Revolution. Finally, given the status of Anna Akhmatova and her contributions, the third recital was devoted entirely to her poetry. The "Russian soul" is one of deep, heartfelt emotions and sorrow. Happiness and joy are also present, but always with a touch of melancholy. The audience did not simply go through a musical journey, but took a journey through the "Russian soul". With the strong response of the audience to these recitals, my belief that this repertoire deserves a prominent place in recital programming was confirmed.

Effects of Wingwall Configurations on the Behavior of Integral Abutment Bridges

This research includes parametric studies performed with the use of three-dimensional nonlinear finite element models in order to investigate the effects of cantilever wingwall configurations on the behavior of integral abutment bridges located on straight alignment and zero skew. The parametric studies include all three types of cantilever wingwalls; inline, flared, and U-shaped wingwalls. Bridges analyzed vary in length from 100 to 1200 feet. Soil-structure and soil-pile interaction are included in the analysis. Loadings include dead load in combination with temperature loads in both rising and falling temperatures. Plasticity in the integral abutment piles is investigated by means of nonlinear plasticity models. Cracking in the abutments and stresses in the reinforcing steel are investigated by means of nonlinear concrete models. The effects of wingwall configurations are assessed in terms of stresses in the integral abutment piles, cracking in the abutment walls, stresses in the reinforcing steel of abutment walls, and axial forces induced in the steel girders. The models developed are analyzed for three types of soil behind the abutments and wingwalls; dense sand, medium dense sand, and loose sand. In addition, the models consider both the case of presence and absence of predrilled holes at the top nine feet of piles. The soil around the piles below the predrilled holes consists of very stiff clay. The results indicate that for the stresses in the piles, the critical load is temperature contraction and the most critical parameter is the use of predrilled holes. However, for both the stresses in the reinforcing steel and the axial forces induced in the girders, the critical load is temperature expansion and the critical parameter is the bridge length. In addition, the results indicate that the use of cantilever wingwalls in integral abutment bridges results in an increase in the magnitude of axial forces in the steel girders during temperature expansion and generation of pile plasticity at shorter bridge lengths compared to bridges built without cantilever wingwalls.

BEHAVIOR OF FIBER REINFORCED POLYMER COMPOSITE PILES WITH ELLIPTICAL CROSS SECTIONS IN INTEGRAL ABUTMENT BRIDGE FOUNDATIONS

Every year in the US and other cold-climate countries considerable amount of money is spent to restore structural damages in conventional bridges resulting from (or “caused by”) salt corrosion in bridge expansion joints. Frequent usage of deicing salt in conventional bridges with expansion joints results in corrosion and other damages to the expansion joints, steel girders, stiffeners, concrete rebar, and any structural steel members in the abutments. The best way to prevent these damages is to eliminate the expansion joints at the abutment and elsewhere and make the entire bridge abutment and deck a continuous monolithic structural system. This type of bridge is called Integral Abutment Bridge which is now widely used in the US and other cold-climate countries. In order to provide lateral flexibility, the entire abutment is constructed on piles. Piles used in integral abutments should have enough capacity in the perpendicular direction to support the vertical forces. In addition, piles should be able to withstand corrosive environments near the surface of the ground and maintain their performance during the lifespan of the bridge. Fiber Reinforced Polymer (FRP) piles are a new type of pile that can not only accommodate large displacements, but can also resist corrosion significantly better than traditional steel or concrete piles. The use of FRP piles extends the life of the pile which in turn extends the life of the bridge. This dissertation studies FRP piles with elliptical shapes. The elliptical shapes can simultaneously provide flexibility and stiffness in two perpendicular axes. The elliptical shapes can be made using the filament winding method which is a less expensive method of manufacturing compared to the pultrusion or other manufacturing methods. In this dissertation a new way is introduced to construct the desired elliptical shapes with the filament winding method. Pile specifications such as dimensions, number of layers, fiber orientation angles, material, and soil stiffness are defined as parameters and the effects of each parameter on the pile stresses and pile failure have been studied. The ANSYS software has been used to model the composite materials. More than 14,000 nonlinear finite element pile models have been created, each slightly different from the others. The outputs of analyses have been used to draw curves. Optimum values of the parameters have been defined using generated curves. The best approaches to find optimum shape, angle of fibers and types of composite material have been discussed.

Charging The Net: Social Activism in Women's Professional Tennis

This dissertation is an analysis of social activism within women’s professional tennis. In the 46 years since the women known as the Original 9 began protesting against the pay inequality between men’s and women’s tennis, subsequent cohorts of women have brought different issues and concerns to women’s tennis, expanding its scope and efforts.  Using qualitative research, including interviews with former players and press conference participation at tournaments to access current players, this study shows the lineage of social activism within women’s tennis and the issues, expressions, risks and effects of each cohort. Intersectionality theoretically frames this study, and analyses of performativity appears regularly. Each generational cohort is a chapter of this study. The Original 9 of the Movement Cohort fought for equal prize money. The Bridge Cohort, the era of Evert and Navratilova, continued the Movement Cohort’s push for equal prize money; however, they also ushered in identity politics (including gender, sexuality, and nationality, but with the notable exception of race). The Professional Cohort, the current era, followed the Bridge Cohort and is characterized by its focus on corporatization and mass-marketing. As such, there is a focus among the players on individualism which can seem like a lack of social activism is occurring. However, race, neglected during the Bridge Cohort, emerged during the Professional Cohort. The individualism of this cohort made space for Blackness to show unapologetically, though, within certain constraints. Finally, a few players are working on social justice issues in society at large, as well as trying to institute change within women’s tennis. These players make up the Post-Professional Cohort (or, as Pam Shriver from the Bridge Cohort calls them, “Bridge Throwbacks”).  This study shows the evolution of social activism within women’s tennis, as it reflects larger social change. Though bound together as one unified body, the social activism engaged in by each generation focused on different issues, making each generational cohort distinct from the whole of women’s professional tennis.

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD

At the end of the sixteenth century, Germany had become one of the most active centers of early Baroque music, and therefore Austro-German music came to dominate Western music. An investigation of violin works written during this period reveals the ways in which Austro-German compositions are extraordinary contributions to the violin repertoire. This research warranted further study and performance of these works in order to determine what influence these composers had on the violin repertoire as a whole. For my dissertation recital project, I trace the history of works for violin focusing the violin concerto repertoire in particular. A genre which remained popular throughout the century, the nineteenth-century concerto served primarily as a vehicle for virtuosic display of the violin and piano as never before. For my research I studied and performed works selected from the Baroque through the Romantic period in three recorded recitals with collaborative pianists Ilya Sinaisky, Sun-ha Yun, and Seyon Lee at the Gildenhorn Recital Hall, Clarice Smith Performing Arts Center. I selected particularly prominent pieces which represent the work of significant composers from each period. The composers discussed include Johann Sebastian Bach (1685-1750), owing to the fact that his works are the culmination of the Baroque era during the first half of the eighteenth century; from the Classical period, Wolfgang Amadeus Mozart (1756-1791) all of whom emerged mixing German and Italian traditions into his own style, and Ludwig van Beethoven (1770-1827), the bridge composer between the Classical and the Romantic periods; Romantic composers, Franz Schubert (1979-1828), Johannes Brahms (1833-1897), Robert Schumann (1810-1856), Felix Mendelssohn (1809-1847), and Max Bruch (1838-1920), all who tended to mix Classic and Romantic elements. As a violinist, I learned that their own original sound, rich harmonies and unique expression made these works worthy of becoming masterpieces. I have relished the opportunity for musical and professional growth in exploring these substantial compositions.

LIONEL TERTIS AND THE FLOWERING OF EARLY TWENTIETH CENTURY ENGLISH VIOLA REPERTOIRE

This performance project focused on English viola literature written in the first half of the twentieth century. During this time, numerous English composers were influenced by Lionel Tertis' unprecedented approach to the viola as a virtuosic and solo instrument. In addition to being an inspiration to composers of whom he was not in direct contact, Tertis' innovative vision for the viola led to numerous collaborations with prominent English composers of his generation. Ralph Vaughan Williams, Arnold Bax, York Bowen, Frank Bridge, Benjamin Britten, and Rebecca Clarke -his own protégé - composed some of the most important works for viola thus directly shaping the impression of the instrument as we know it today. Tertis' artistry as a performing violist was unmatched at the beginning of the twentieth century. He had a unique approach to the instrument which focused on concept of sound, tone color, concentrated listening, continuous vibrato, discreet portamento, and expressive interpretation. His convincing musical and technical ideas led him to write a treatise about how to achieve a beautiful tone. His passion for teaching and concern for the viola's posterity greatly enhanced the development of the viola. Tertis transcribed, edited, and premiered many works during his career. The music that Lionel Tertis influenced can be seen as a microcosm for a musical resurgence in England during the first half of the twentieth-century. The catalyst for this was artistic influences in the form of nationalism, folk music, romanticism, modernism, and impressionism, among others. Before this, England was widely referred to as ''the land without music" but in a very real sense, .Lionel Tertis was one of the pioneers who, through his artistry of the viola, led the way to the renaissance of music in England in the twentieth century.

RUSSIAN THREADS: THE PRESENCE OF RUSSIAN INFLUENCES IN TWENTIETH­ CENTURY ENGLISH CELLO MUSIC

A cursory glance at cello works by English composers during the twentieth- century yields an unexpected relationship to Russian musicians, history, culture, and religion. One must wonder how this connection or "Russian thread" came to be. When considering the working relationship of Benjamin Britten and Mstislav Rostropovich, the likelihood of such a connection is tangible, since their deeply personal friendship influenced Britten's music for cello. However, what is perhaps more interesting is the emergence of connections to Russia in the works of other English composers of the twentieth-century, featuring works from 1913-1996. This project was conceived after close study and analysis of Benjamin Britten's Third Suite for Solo Cello, Op. 87 (1971). Britten's inclusion of Russian folk tunes and an Orthodox Church hymn signaled the penetrating presence of Russian elements in his works. Britten's First Suite for Solo Cello, Op. 72, Third Suite for Cello, Op. 87, and Sonata for Piano and Cello in C, Op. 65 are presented in this project. Further exploration of works for cello by English composers unveiled similar connections to Russia. The Sonata for Cello and Piano of Frank Bridge is likened to Russian romanticism and the Cello Sonata of Sergei Rachmaninoff. William Walton's Cello Concerto was written for the Russian-American cellist Gregor Piatigorsky. Wake Up ...and die is John Tavener's deeply spiritual work, which is rooted in his Russian Orthodoxy. John Ireland, influenced by models of French and Russian Impressionism, contributed works colored with Russian folk influences, of which his Piano Trio No. 2 is an example. Finally, Arnold Bax traveled to Russia as a young man and his Folk Tale and Legend Sonata are imbued with the spirit of Russian folk music and architecture. This dissertation project is comprised of three recitals featuring English works for cello connected by a "Russian Thread." All events took place on the campus of University of Maryland, College Park: Recital #1 on December 4, 2011 in the Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center, Recital #2 on February 11,2012, and Recital #3 on April 15, 2012, both in the Ulrich Recital Hall.