Language-based Techniques for Practical and Trustworthy Secure Multi-party Computations

Secure Multi-party Computation (MPC) enables a set of parties to collaboratively compute, using cryptographic protocols, a function over their private data in a way that the participants do not see each other's data, they only see the final output. Typical MPC examples include statistical computations over joint private data, private set intersection, and auctions. While these applications are examples of monolithic MPC, richer MPC applications move between "normal" (i.e., per-party local) and "secure" (i.e., joint, multi-party secure) modes repeatedly, resulting overall in mixed-mode computations. For example, we might use MPC to implement the role of the dealer in a game of mental poker -- the game will be divided into rounds of local decision-making (e.g. bidding) and joint interaction (e.g. dealing). Mixed-mode computations are also used to improve performance over monolithic secure computations. Starting with the Fairplay project, several MPC frameworks have been proposed in the last decade to help programmers write MPC applications in a high-level language, while the toolchain manages the low-level details. However, these frameworks are either not expressive enough to allow writing mixed-mode applications or lack formal specification, and reasoning capabilities, thereby diminishing the parties' trust in such tools, and the programs written using them. Furthermore, none of the frameworks provides a verified toolchain to run the MPC programs, leaving the potential of security holes that can compromise the privacy of parties' data. This dissertation presents language-based techniques to make MPC more practical and trustworthy. First, it presents the design and implementation of a new MPC Domain Specific Language, called Wysteria, for writing rich mixed-mode MPC applications. Wysteria provides several benefits over previous languages, including a conceptual single thread of control, generic support for more than two parties, high-level abstractions for secret shares, and a fully formalized type system and operational semantics. Using Wysteria, we have implemented several MPC applications, including, for the first time, a card dealing application. The dissertation next presents Wys*, an embedding of Wysteria in F*, a full-featured verification oriented programming language. Wys* improves on Wysteria along three lines: (a) It enables programmers to formally verify the correctness and security properties of their programs. As far as we know, Wys* is the first language to provide verification capabilities for MPC programs. (b) It provides a partially verified toolchain to run MPC programs, and finally (c) It enables the MPC programs to use, with no extra effort, standard language constructs from the host language F*, thereby making it more usable and scalable. Finally, the dissertation develops static analyses that help optimize monolithic MPC programs into mixed-mode MPC programs, while providing similar privacy guarantees as the monolithic versions.

ION, OPERA IN SEVEN SCENES, BASED ON EURIPIDES ORIGINAL PLAY

The opera ION serves as my Doctoral Dissertation at the University of Maryland School of Music. The librettist of the opera is Nick Olcott, Opera Assistant Director at the University. My interest in this little-known play of Euripides began with my work with Professor Lillian Doherty of the University's Classics Department. Since I am fluent in Greek, I was able to read the play in original, becoming aware of nuances of meaning absent in the standard English translations. Professor Leon Major, Artistic Director of the University's Opera Studio, was enthusiastic about the choice of this play as the basis for an opera, and has been very generous of his time in showing me what must be done to turn a play into an opera. ION is my first complete stage work for voices and constitutes an ambitious project. The opera is scored for a small chamber orchestra, consisting of Saxophone, Percussion (many types), Piano, a Small Chorus of six singers, as well as five Soloists. An orchestra of this size is adequate for the plot, and also provides support for various new vocal techniques, alternating between singing and speaking, as well as traditional arias. In ION, I incorporate Greek folk elements, which I know first-hand from my Balkan background, as well as contemporary techniques which I have absorbed during my graduate work at Boston University and the University of Maryland. Euripides' ION has fascinated me for two reasons in particular: its connection with founding myth of Athens, and the suggestiveness of its plot, which turns on the relationship of parents to children. In my interpretation, the leading character Ion is seen as emblematic for today's teenagers. Using the setting of the classic play, I hope to create a modern transformation of a myth, not to simply retell it. To this end, hopefully a new opera form will rise, as valid for our times as Verdi and Wagner were for theirs.

IMPROVISATION AND THE CONCERT SAXOPHONIST: A SURVEY OF COMPOSITIONAL AND PERFORMANCE TECHNIQUES

Much of the contemporary concert (i.e. “classical”) saxophone literature has connections to compositional styles found in other genres like jazz, rock, or pop. Although improvisation exists as a dominant compositional device in jazz, improvisation as a performance technique is not confined to a single genre. This study looks at twelve concert saxophone pieces that are grouped into three primary categories of compositional techniques: 1) those containing unmeasured phrases, 2) those containing limited relation to improvisation but a close relationship to jazz styles, and 3) those containing jazz improvisation. In concert saxophone music, specific crossover pieces use the compositional technique of jazz improvisation. Four examples of such jazz works were composed by Dexter Morrill, Phil Woods, Bill Dobbins, and Ramon Ricker, all of which provide a foundation for this study. In addition, pieces containing varying degrees of unmeasured phrases are highlighted. As this dissertation project is based in performance, the twelve pieces were divided into three recitals that summarize a pedagogical sequence. Any concert saxophonist interested in developing jazz improvisational skills can use the pieces in this study as a method to progress toward the performance of pieces that merge jazz improvisation with the concert format. The three compositional techniques examined here will provide the performer with the necessary material to develop this individualized approach to improvisation. Specific compositional and performance techniques vary depending on the stylistic content: this study examines improvisation in the context of concert saxophone repertoire.