Approximate Bayesian Computation for astronomical model analysis : a case study in galaxy demographics and morphological transformation at high redshift

Approximate Bayesian Computation’ (ABC) represents a powerful methodology for the analysis of complex stochastic systems for which the likelihood of the observed data under an arbitrary set of input parameters may be entirely intractable – the latter condition rendering useless the standard machinery of tractable likelihood-based, Bayesian statistical inference [e.g. conventional Markov chain Monte Carlo (MCMC) simulation]. In this paper, we demonstrate the potential of ABC for astronomical model analysis by application to a case study in the morphological transformation of high-redshift galaxies. To this end, we develop, first, a stochastic model for the competing processes of merging and secular evolution in the early Universe, and secondly, through an ABC-based comparison against the observed demographics of massive (Mgal > 1011 M⊙) galaxies (at 1.5 < z < 3) in the Cosmic Assembly Near-IR Deep Extragalatic Legacy Survey (CANDELS)/Extended Groth Strip (EGS) data set we derive posterior probability densities for the key parameters of this model. The ‘Sequential Monte Carlo’ implementation of ABC exhibited herein, featuring both a self-generating target sequence and self-refining MCMC kernel, is amongst the most efficient of contemporary approaches to this important statistical algorithm. We highlight as well through our chosen case study the value of careful summary statistic selection, and demonstrate two modern strategies for assessment and optimization in this regard. Ultimately, our ABC analysis of the high-redshift morphological mix returns tight constraints on the evolving merger rate in the early Universe and favours major merging (with disc survival or rapid reformation) over secular evolution as the mechanism most responsible for building up the first generation of bulges in early-type discs.

Complete-linkage clustering for voice activity detection in audio and visual speech

We propose a novel technique for conducting robust voice activity detection (VAD) in high-noise recordings. We use Gaussian mixture modeling (GMM) to train two generic models; speech and non-speech. We then score smaller segments of a given (unseen) recording against each of these GMMs to obtain two respective likelihood scores for each segment. These scores are used to compute a dissimilarity measure between pairs of segments and to carry out complete-linkage clustering of the segments into speech and non-speech clusters. We compare the accuracy of our method against state-of-the-art and standardised VAD techniques to demonstrate an absolute improvement of 15% in half-total error rate (HTER) over the best performing baseline system and across the QUT-NOISE-TIMIT database. We then apply our approach to the Audio-Visual Database of American English (AVDBAE) to demonstrate the performance of our algorithm in using visual, audio-visual or a proposed fusion of these features.

The right to a voice and the fight to be heard: The experience of being an ESL user in Australia

This paper focuses on the fundamental right to be heard, that is, the right to have one’s voice heard and listened to – to impose reception (Bourdieu, 1977). It focuses on the ways that non-mainstream English is heard and received in Australia, where despite public policy initiatives around equal opportunity, language continues to socially disadvantage people (Burridge & Mulder, 1998). English is the language of the mainstream and most people are monolingually English (Ozolins, 1993). English has no official status yet it remains dominant and its centrality is rarely challenged (Smolicz, 1995). This paper takes the position that the lack of language engagement in mainstream Australia leads to linguistic desensitisation. Writing in the US context where English is also the unofficial norm, Lippi-Green (1997) maintains that discrimination based on speech features or accent is commonly accepted and widely perceived as appropriate. In Australia, non-standard forms of English are often disparaged or devalued because they do not conform to the ‘standard’ (Burridge & Mulder, 1998). This paper argues that talk cannot be taken for granted: ‘spoken voices’ are critical tools for representing the self and negotiating and manifesting legitimacy within social groups (Miller, 2003). In multicultural, multilingual countries like Australia, the impact of the spoken voice, its message and how it is heard are critical tools for people seeking settlement, inclusion and access to facilities and services. Too often these rights are denied because of the way a person sounds. This paper reports a study conducted with a group that has been particularly vulnerable to ongoing ‘panics’ about language – international students. International education is the third largest revenue source for Australia (AEI, 2010) but has been beset by concerns from academics (Auditor-General, 2002) and the media about student language levels and falling work standards (e.g. Livingstone, 2004). Much of the focus has been high-stakes writing but with the ascendancy of project work in university assessment and the increasing emphasis on oracy, there is a call to recognise the salience of talk, especially among students using English as a second language (ESL) (Kettle & May, 2012). The study investigated the experiences of six international students in a Master of Education course at a large metropolitan university. It utilised data from student interviews, classroom observations, course materials, university policy documents and media reports to examine the ways that speaking and being heard impacted on the students’ learning and legitimacy in the course. The analysis drew on Fairclough’s (2003) model of the dialectical-relational Critical Discourse Analysis (CDA) to analyse the linguistic, discursive and social relations between the data texts and their conditions of production and interpretation, including the wider socio-political discourses on English, language difference, and second language use. The interests of the study were if and how discourses of marginalisation and discrimination manifested and if and how students recognised and responded to them pragmatically. Also how they juxtaposed with and/or contradicted the official rhetoric about diversity and inclusion. The underpinning rationale was that international students’ experiences can provide insights into the hidden politics and practices of being heard and afforded speaking rights as a second language speaker in Australia.

Koko talo soi : Klemetti-Opisto suomalaisen musiikkikulttuurin kehittäjänä 1953-1968

This study aims to examine the operations and significance of the Klemetti Institute (Klemetti-Opisto) as a developer of Finnish music culture from 1953 to 1968 during the term of office of the Institute s founder and first director, Arvo Vainio. The Klemetti Institute was originally established as a choir institute, but soon expanded to offer a wide range of music courses. In addition to providing courses for choir leaders and singers, the Institute began its orchestral activities as early as the mid-1950s. Other courses included ear training seminars as well as courses for young people s music instructors and in playing the kantele (a Finnish string instrument) and solo singing. More than 20 types of courses were offered over the 16-year period. The Klemetti Institute s courses were incorporated into the folk high school courses offered by the Orivesi Institute (Oriveden Opisto) and were organised during the summer months of June and July. In addition to funding based on the Folk High School Act, financial assistance was obtained from various foundations and funds, such as the Wihuri Foundation. This study is linked to the context of historical research. I examine the Klemetti Institute s operations chronologically, classifying instruction into different course types, and analyse concert activities primarily in the section on the Institute s student union. The source material includes the Klemetti Institute archives, which consist of Arvo Vainio s correspondence, student applications, register books and cards, journals and student lists, course albums and nearly all issues of the Klemettiläinen bulletin. In addition, I have used focused interviews and essays to obtain extensive data from students and teachers. I concentrate on primary school teachers, who accounted for the majority of course participants. A total of more than 2,300 people participated in the courses, nearly half of whom took courses during at least two summers. Primary school teachers accounted for 50% to 70% of the participants in most courses and constituted an even larger share of participants in some courses, such as the music instructor course. The Klemetti Institute contributed to the expansion throughout Finland of a new ideal for choral tone. This involved delicate singing which strives for tonal purity and expressiveness. Chamber choirs had been virtually unheard of in Finland, but the Klemetti Institute Chamber Choir popularised them. Chamber choirs are characterised by an extensive singing repertoire ranging from the Middle Ages to the present. As the name suggests, chamber choirs were originally rather small mixed choirs. Delicate singing meant the avoidance of extensive vibrato techniques and strong, heavy forte sounds, which had previously been typical of Finnish choirs. Those opposing and shunning this new manner of singing called it ghost singing . The Klemetti Institute s teachers included Finland s most prominent pedagogues and artists. As the focused essays, or reminiscences as I call them, show, their significance for the students was central. I examine extensively the Klemetti Institute s enthusiastic atmosphere, which during the early years was characterised by what some writers described as a hunger for music . In addition to distributing a new tonal ideal and choir repertoire, the Klemetti Institute also distributed new methods of music education, thus affecting the music teaching of Finnish primary schools, in particular. The Orff approach, which included various instruments, became well known, although some of Orff s ideas, such as improvisation and physical exercise, were initially unfamiliar. More important than the Orff approach was the in-depth teaching at the Klemetti Institute of the Hungarian ear training method known as the Kodály method. Many course participants were among those launching specialist music classes in schools, and the method became the foundation for music teaching in many such schools. The Klemetti Institute was also a pioneer in organising orchestra camps for young people. The Klemetti Institute promoted Finnish music culture and played an important role in the continuing music education of primary school teachers. Keywords: adult education, Grundtvigian philosophy, popular enlightenment, Klemetti Institute, Kodály method, choir singing, choir conducting, music history, music education, music culture, music camp, Orff approach, Orff-Schulwerk, Orivesi Institute, instrument teaching, free popular education, communality, solo singing, voice production

Breathing, swallowing and voice in laryngeal disorsers

The aim of this work was to examine how breathing, swallowing and voicing are affected in different laryngeal disorders. For this purpose, we examined four different patient groups: patients who had undergone total laryngectomy, anterior cervical decompression (ACD), or injection laryngoplasty with autologous fascia (ILAF), and patients with dyspnea during exercise. We studied the problems and benefits related to the automatic speech valve used for the rehabilitation of speech in laryngectomized patients. The device was given to 14 total laryngectomized patients who used the traditional valve especially well. The usefulness of voice and intelligibility of speech were assessed by speech pathologists. The results demonstrated better performance with the traditional valve in both dimensions. Most of the patients considered the automatic valve a helpful additional device but because of heavier breathing and the greater work needed for speech production, it was not suitable as a sole device in speech rehabilitation. Dysphonia and dysphagia are known complications of ACD. These symptoms are caused due to the stretching of tissue needed during the surgery, but the extent and the recovery from them was not well known before our study. We studied two patient groups, an early group with 50 patients who were examined immediately before and after the surgery and a late group with 64 patients who were examined 3 9 months postoperatively. Altogether, 60% reported dysphonia and 69% dysphagia immediately after the operation. Even though dysphagia and dysphonia often appeared after surgery, permanent problems seldom occurred. Six (12 %) cases of transient and two (3 %) permanent vocal cord paresis were detected. In our third study, the long-term results of ILAF in 43 patients with unilateral vocal cord paralysis were examined. The mean follow-up was 5.8 years (range 3 10). Perceptual evaluation demonstrated improved results for voice quality, and videostroboscopy revealed complete or partial glottal closure in 83% of the patients. Fascia showed to be a stable injection material with good vocal results. In our final study we developed a new diagnostic method for exertional laryngeal dyspnea by combining a cardiovascular exercise test with simultaneous fiberoptic observation of the larynx. With this method, it is possible to visualize paradoxal closure of the vocal cords during inspiration, which is a diagnostic criterion for vocal cord dysfunction (VCD). We examined 30 patients referred to our hospital because of suspicion of exercise-induced vocal cord dysfunction (EIVCD). Twenty seven out of thirty patients were able to perform the test. Dyspnea was induced in 15 patients, and of them five had EIVCD and four high suspicion of EIVCD. With our test it is possible to set an accurate diagnosis for exertional laryngeal dyspnea. Moreover, the often seen unnecessary use of asthma drugs among these patients can be avoided.

Aplicação da metodologia de GPR (Radar de Penetração no Solo) com tratamento no programa Reflexw dos cordões cenozóicos da planície costeira de Itaguaí, Rio de Janeiro

Esta pesquisa investigou a formação de depósitos arenosos localizados na planície costeira da Baixada de Sepetiba, em Itaguaí, estado do Rio de Janeiro. A deposição sedimentar e a evolução desta área, na Baixada de Sepetiba tem sido estudada nas três últimas décadas, principalmente, porque é um ambiente de depósitos arenosos antigo de idade Holocênica a Pleistocênica que corresponde a uma linha de praia, originada com eventos transgressivos e/ou regressivos que tiveram seu ápice durante o Quaternário. A metodologia de Radar de Penetração no Solo (GPR) é usada, principalmente nos casos de trabalho em que se estuda um ambiente costeiro arenoso. Este campo da Geofísica tem sido usado para examinar características, tais como: a espessura de depósitos arenosos, a profundidade de um aqüífero, a detecção de uma rocha ou um aqüífero, e determina a direção de progradação. Esta pesquisa usa técnicas de radar de penetração no solo (GPR) para analisar as estruturas, em subsuperfície desde que o ambiente estudado seja definido como linha de costa, as margens de uma lagoa mixohalina, chamada Baía de Sepetiba. Neste trabalho realizamos um total de 11 perfis, que foram processados pelo software ReflexWin. Durante o processamento do dado aplicamos alguns filtros, tais como: subtract-mean (dewow), bandpassfrequency e ganhos. E as melhores imagens dos perfis foram realizadas usando-se uma antena de 200 MHz (canal 1) e outra antena de 80 MHz. Neste caso, obtivemos imagens de alta resolução a uma profundidade de até 25 metros.

Avaliação de condicionadores em solo para uso em telhados verdes com vistas à retenção hídrica.

As inundações são fenômenos naturais que ocorrem devido às chuvas de grande magnitude, agravadas nas áreas urbanas pela impermeabilização do solo e ineficiência dos sistemas de drenagem. Os telhados verdes surgem como uma medida compensatória estrutural que pode reter parte da água precipitada, adiando o pico de escoamento. O objetivo deste trabalho foi de desenvolver uma combinação de solo e condicionadores para telhado verde, promovam um aumento relevante na capacidade de retenção hídrica e um maior adiamento do pico de escoamento das águas pluviais. Este estudo foi dividido em duas etapas. Na Etapa 1, foram analisadas, em colunas de percolação, três condicionadores nas seguintes concentrações: Gel retentor Stockosorb (2; 4; 6 g/dm3), Fertilizante de liberação lenta Osmocote (4,7; 7,1; 9,0 g/dm3) e Zeólita (30; 50; 70 g/dm3), em três eventos (regas) consecutivos de chuva simulada na intensidade de 57 mm/h. A avaliação das concentrações mais adequadas dentre as testadas para cada condicionante foi baseada nas análises referentes à retenção hídrica (altura do meio após a rega; tempo de adiamento do escoamento; mm retidos; intensidade da água percolada em mm/min) e à qualidade da água percolada (pH, oxigênio dissolvido, turbidez e sólidos). Na Etapa 2, foi avaliada, em vasos, a influência da presença de três espécies de plantas (Arachis pintoi; Raphanus sativus; Lavandula angustifolia) em dois tipos de meio: solo sem condicionadores; solo com condicionadores nas melhores concentrações indicadas na Etapa 1, sendo simulada apenas um evento de chuva de 57 mm/h. Foram analisados parâmetros biológicos (germinação; plantas sobreviventes; comprimento do caule e da raiz; pesos da biomassa do caule e da raiz); retenção hídrica (altura do meio após a rega; tempo de adiamento do escoamento; mm retidos; intensidade da água percolada em mm/min); qualidade da água percolada (pH; oxigênio dissolvido; turbidez; sólidos; nitrato; amônia; fósforo total). Os resultados da Etapa 1 indicaram que o gel promoveu de forma significativa um aumento na retenção hídrica, e adiou o início da percolação de água, além de promover ligeira elevação do pH na água percolada. A adição de zeólita resultou em um aumento significativo da retenção hídrica, porém tal aumento não é vantajoso visto que este representa um custo adicional que poderia ser reduzido com o aumento da proporção do gel na coluna. A adição de fertilizantes não promoveu mudanças na qualidade da água percolada. Na Etapa 2, somente o efeito da presença de A. pintoi (maior produção de biomassa de raiz e caule) e R. sativus foram avaliadas. A presença dos condicionantes no solo proporcionou um desempenho significativamente superior em relação a retenção hídrica (altura do substrato e adiamento do pico de chuva) e qualidade da água percolada (pH e turbidez) quando comparados aos testes realizados na presença somente de solo. O fertilizante influenciou nas altas concentrações dos nutrientes (nitrogênio e fósforo) na água percolado nos resultados. A presença do gel no substrato, resultou numa capacidade superior de retenção de hídrica, e consequentemente no adiamento do pico de intensidade de chuva. Sendo assim, recomenda-se a aplicação do gel em telhados verdes para futuros estudos em ambientes externos.

Enfoque da estatística espacial em modelos dinâmicos de mudança do uso do solo.

O atual nível das mudanças uso do solo causa impactos nas mudanças ambientais globais. Os processos de mudanças do uso e cobertura do solo são processos complexos e não acontecem ao acaso sobre uma região. Geralmente estas mudanças são determinadas localmente, regionalmente ou globalmente por fatores geográficos, ambientais, sociais, econômicos e políticos interagindo em diversas escalas temporais e espaciais. Parte desta complexidade é capturada por modelos de simulação de mudanças do uso e cobertura do solo. Uma etapa do processo de simulação do modelo CLUE-S é a quantificação da influência local dos impulsores de mudança sobre a probabilidade de ocorrência de uma classe de uso do solo. Esta influência local é obtida ajustando um modelo de regressão logística. Um modelo de regressão espacial é proposto como alternativa para selecionar os impulsores de mudanças. Este modelo incorpora a informação da vizinhança espacial existente nos dados que não é considerada na regressão logística. Baseado em um cenário de tendência linear para a demanda agregada do uso do solo, simulações da mudança do uso do solo para a microbacia do Coxim, Mato Grosso do Sul, foram geradas, comparadas e analisadas usando o modelo CLUE-S sob os enfoques da regressão logística e espacial para o período de 2001 a 2011. Ambos os enfoques apresentaram simulações com muito boa concordância, medidas de acurácia global e Kappa altos, com o uso do solo para o ano de referência de 2004. A diferença entre os enfoques foi observada na distribuição espacial da simulação do uso do solo para o ano 2011, sendo o enfoque da regressão espacial que teve a simulação com menor discrepância com a demanda do uso do solo para esse ano.

A rock-magnetic and geomagnetic secular variation record from late-Pleistocene Lake Estancia, New Mexico [abstract]

EXTRACT (SEE PDF FOR FULL ABSTRACT): Exposed sediments of Late Pleistocene Lake Estancia contain a high resolution record of regional climate variability for the period about 12,000 to 32,000 years. A detailed rock-magnetic study is being performed on this well-dated, well-preserved sedimentary sequence to determine how the magnetic signature of sediments responded to regional climate change.

Temporal behaviour of marine landings along coastal Karnataka 1. Relative distribution and secular trends

Landing data of 21 fisheries from Karnataka (quarterly landings for the period 1956 to 1978 and annual landings for the period 1979 to 1981) were analysed to study the te111poral behaviour of the landings. The relative distribution and secular trends in each of the fisheries are reported. On an average, mackerel and oil sardine together account for about 70% of the annual landings. The fluctuation in the landings in all the fisheries was very high with the coefficient of variation attaining a minimum value of 61.53%. The inverse relationship between the landings of oil sardine and mackerel was found to be statistically significant. It is suggested that fishing effort be further increased in fisheries that have demonstrated a rising trend (about 73% of the total annual landings) as also in the case of the fisheries whose trends appear stagnant (about 21% of the annual landings). However, there seems to be some evidence of a need for regulating fishing in Hemirhamphus and Belone, Caranx and penaeid prawns. Regulations need to be made authentic with the help of sufficient information on not merely the fishery but on the whole population.

Vibrato in singing voice: the link between source-filter and sinusoidal models

The application of inverse filtering techniques for high-quality singing voice analysis/synthesis is discussed. In the context of source-filter models, inverse filtering provides a noninvasive method to extract the voice source, and thus to study voice quality. Although this approach is widely used in speech synthesis, this is not the case in singing voice. Several studies have proved that inverse filtering techniques fail in the case of singing voice, the reasons being unclear. In order to shed light on this problem, we will consider here an additional feature of singing voice, not present in speech: the vibrato. Vibrato has been traditionally studied by sinusoidal modeling. As an alternative, we will introduce here a novel noninteractive source filter model that incorporates the mechanisms of vibrato generation. This model will also allow the comparison of the results produced by inverse filtering techniques and by sinusoidal modeling, as they apply to singing voice and not to speech. In this way, the limitations of these conventional techniques, described in previous literature, will be explained. Both synthetic signals and singer recordings are used to validate and compare the techniques presented in the paper.

Three Voices in the Wilderness: Foote, Bloch, and Korngold in the Early Twentieth-Century America

Barbara Hanning points out in her book Concise History of Western Music, that "Twentieth-century American music was in large measure an extension of European music" (Hanning 1998, 515). My dissertation/perforrnance project features cello works written by three contemporary composers who lived in America but were connected to the European heritage in different ways; each contributed significantly to the development of American classical concert life, music education, and even popular culture. Programs of my performances are intended to illustrate their unique compositional styles. The first recital consists of five cello compositions of Massachusetts-born Arthur Foote (1853 - 1937): Drei Stucke fur Pianoforte und Violoncello, Op. 1; Scherzo, Op.22; Romanza, Op.33; Aubade, Op.77; and Sonata for Violoncello and Piano, Op.78. Foote was influenced by the German-trained John Knowles Paine at Harvard University; he composed music famous for its extensive chromaticism in both harmony and melodic line, and for clearly-defined formal structure. The second recital explores the music of Swiss-American composer Ernest Bloch (1880-1959): a short Meditation Hebraique, a Suite No. I for Violoncello Solo and the famous rhapsody Schelomo. Born in Geneva, Switzerland, and settling in the United States in 1916, Bloch is a composer deeply influenced by the European late-Romantic tradition and is also well-known for employing "Hebraic" elements into his works. The final performance comprises two other of Bloch's cello works and one cello concerto by the Austrian-American composer, Erich Wolfgang Korngold (1897- 1957). Bloch's Voice in the Wilderness is a symphonic poem for orchestra and cello (accompanied by piano in this performance), consisting of six movements performed without pause. His Suite No.3 for Cello Solo is shorter and has a simpler style than the first Suite. Korngold was recognized as a child prodigy in his native Austria. After a Nazi-induced exile, he immigrated to America and became a film music composer in Hollywood. The Cello Concerto was used in the movie "Deception" (1 946), for which Korngold provided the film score. The impassioned harmonic language and lavish melodic lines inherited from the high-romanticism make this work one of comparative discordant beauty among other compositions of his time.

CIRQUE DE LA VOIX: VOCAL PERFORMANCES FOR THE 21st CENTURY AUDIENCE

This dissertation addresses the growing need to entice people to attend a classical solo vocal recital by incorporating thematic programming, multi-media presentations, collaborations and innovative marketing. It comprises four programs that use the above tactics, creating live performances of classical vocal music that appeal to the attention deficient 21st-century audience. Each program focuses on repertoire appropriate for the male alto voice and includes elements of spoken word, visual imagery and for movement through collaborations with actors, singers, dancers, designers and visual artists. Program one (March 1, 2004), La Voix Humaine: The Life of an Englishwoman in Music, Poetry, & Art, outlines the life of a fictitious Englishwoman through a self-composed narration, spoken by an actress, a Power Point presentation of visual art by 20th-century English artists and musical commentary provided by the collaboration of a vocalist and a pianist. Program two (October 15, 2004), La Voix Thfrmatique: Anima - Music that Moves, is a program of pieces ranging from the 14th- to the 20th-centuries of which half are choreographed by members of the University of Maryland Dance Department. Program three is a lecture recital entitled L 'Haute Voix: Identifying the High Male Voice and Appropriate Repertoire which is presented in collaboration with three singers, a pianist, a harpsichordist and a cellist. Program four, La Voix Dramatique: Opera Roles for the Countertenor Voice, comprises performances of George Frederic Handel's Giulio Cesare in Egitto (1724) in collaboration with the Maryland Opera Studio and the Clarice Smith Performing Arts Center (Leon Major, director; Kenneth Merrill, conductor). There are two performances each of the title role, Cesare (April 15 & 17, 2005), and his nemesis, Tolomeo (April 21 & 23,2005). All programs are documented in a digital audio format available on compact disc and are accompanied by program notes also available in digital format. Programs two and four are also documented in digital video format available on digital video disc.

BAROQUE MUSIC FOR TRUMPET: A STUDY OF SOLO AND CHAMBER REPERTOIRE

The trumpet experienced important changes in terms of its musical use during the middle and late Baroque period. Prior to the Baroque, and even in to the first half of the 17th century, the trumpet had historically been used for rather "non-musical" purposes, sometimes as an instrument for battle or as a tool to be used in the town square to announce the arrival of a dignitary. On the whole, the trumpet was most certainly not used as an instrument of melody -that was typically reserved for violins, flutes, and oboes. However, in the late 1600's, composers such as Allesandro Stradella and Henry Purcell began to treat the trumpet differently. They saw the melodic potential in the trumpet and began to feature the trumpet more as an instrument of melody, as opposed to relegating it to only outlining triads and emphasizing harmony. Of course, keyboard, string, and woodwind instruments had long established a significant catalogue of works by the late 17th century. Additionally, even after the trumpet had been established as an instrument of melody, prominent composers of the time still wrote significantly more solo music for these other instrument families than for the trumpet. Consequently, the overall Baroque repertoire for the solo trumpet pales in comparison to that of the other families of instruments. But, much of this Baroque literature not originally written for trumpet can be presented effectively in the form of a transcription, thereby adding greatly to the repertoire of the Baroque solo trumpet. The goal of these three dissertation recitals is twofold: 1) to perform literature that offers music from a variety of countries of origin that span the entire Baroque era and 2) to feature music that has remained relatively unknown in the trumpet world, yet is musically strong. I will also introduce viable "new" music to the trumpet repertoire through Baroque transcriptions originally written for other instruments or voice. The majority of the transcriptions I will be performing have originated from my own listening and study of Baroque music, and I have selected music that I felt would translate well for the trumpet.

THE DISTINCTIVE VOICE OF PAUL HINDEMITH THROUGH THE VIOLA

Paul Hindemith has made numerous contributions to the viola, both as a composer and performer. As a composer, he has written 7 sonatas for the viola, as well as a number of chamber and orchestral works which feature the viola as a solo instrument. As a violist, Hindemith was one of the only virtuoso soloists of his lifetime, and premiered virtually all of his solo compositions. Many of his pieces remain an integral part of the viola repertoire; Der Schwanendreher is one of the three major Twentieth-Century concertos for the viola. While some of his pieces are well-known, there are many others which are not performed with much frequency, due in part to the sheer output of this prolific composer. In this dissertation project, I performed Hindemith's compositions for the viola as a solo instrument. Consideration was given to exclusively performing his 4 solo sonatas and 3 sonatas for viola and piano. His only viola duet, his only non-sonata written for viola and piano, and 2 of his viola concertos (Der Schwanendreher and Trauermusik) were included in this dissertation project to provide contrast and supplement the three recital programs. Through this dissertation project I have been able to gain a deeper understanding of the complex language of Hindemith and interpret his music in an approach that is accessible to both the performer and the audience. All performances took place in the Gildenhom Recital Hall and Ulrich Recital Hall at the University of Maryland. All collaborations with piano were performed with Eliza Ching. The Duett for Viola and Violoncello was performed with Daniel Shomper, and the assisting musicians performing in the Trauermusik were Joel Ciaccio, Daniel Sender, Daniel Shomper, Cassandra Stephenson and Dana Weiderhold.