The Development of Piano Variations in the Romantic Era

The purpose of this study is to illustrate the development of piano variations as a genre during the Romantic era. In order to facilitate this examination of piano variations techniques, a brief look at the types of variation procedures used by composers of previous eras will assist in understanding developments that later occurred in the Romantic period. Throughout the Baroque era, composers preferred the fured-bass, fixed-melody, and harmonic forms of variation. The crowning achievement of Baroque keyboard music, Bach's Goldberg Variations (1725), contains examples of the "constantharmonic" method in its collection of 30 variations, each of which maintains both the bass and harmonic structure of the themes. While most composers of the classical period favored the "melodic-outline" form of variation, Haydn developed hybrid variation procedure that exhibits recurrence of material rather than repetition, alternating variation (ABABA), rondo variation (ABACA), and ternary variation (ABA). Haydn, Mozart and early Beethoven variations also exhibit simpler textures than do their Baroque predecessors. The nineteenth century produced numerous compositions that display variation techniques, some based on such older, classical models as melodic-outline variation and hybrid variation, others in the style of the character variation or fiee variation. At the beginning of the nineteenth century, Beethoven and Schubert used such classical variation techmques as melodic-outline variations and hybrid variations. Beethoven's late sonatas displayed such new means of expression as variation, fugue, and dramatic recitatives. The third movement of the Sonata in E major, Op. 109 (1820) has a theme and six variations of the melodic-outline type. Johannes Brahms was particularly fond of composing variations for piano. Among the best known examples of formal-outline variations are those found in the Variations and Fugue on a Theme of Handel, Op. 24 (1861). Character variations, in which styles are characterized by the retention and variability of particular elements, also flourished during the Romantic period. Cesar Franck's Variations Symphoniques (1885) are, perhaps, among the most important examples of free variations. This composition is a one-movement work consisting of three sections, Introduction, Variations, and Finale (all movements played "attaca"). This work combines two independent classical formal structures, the concerto and the variation.

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.

VIXEN, VIRGIN, AND GODDESS: PERFORMANCE PRACTICE AND THE BAROQUE HEROINE

This dissertation comprises performance of three soprano roles in Baroque musical theater pieces, recorded on compact disc. These roles are "Poppea" in The Coronation of Poppea (1642) of Claudio Monteverdi (a filly-produced staging of the 1989 Alan Curtis critical edition in English translation, with the Maryland Opera Studio at the Kay Theater, Clarice Smith Performing Arts Center, University of Maryland, College Park, Maryland, May 3 and 6, 2002; Ken Slowik, conductor); "Galatea" in Acis and Galatea (1718) of George Friederich Handel (a staged reading at Gildenhorn Recital Hall, Clarice Smith Performing Arts Center, University of Maryland, College Park, Maryland, May 29,2003; Edward Maclary, conductor); and "Miecke" (Soprano Soloist) in Mer hahn en neue Oberkeet (Peasant Cantata), BWV 212 (1742) of Johann Sebastian Bach (a staged and costumed performance with the Washington Bach Consort at Rachel M. Schlesinger Concert Hall, Alexandria, Virginia, February 2,2003; J. Reilly Lewis, conductor). In addition to performing these three roles, I was the stage director for the reading of Acis and Galatea. Close readings of the libretti, examination of contemporary guides to ornamentation, and research into production histories inform the improvisatory ornamentation found in these compact disc recordings.

SELECTED NINETEENTH CENTURY VARIATIONS FOR PIANO

The beauty and artistry of the variation form were fully developed and represented in the nineteenth century. The treasures of nineteenth century piano variations are a significant part of the total piano repertoire. The main goal of this dissertation is to show how various composers of the nineteenth century used the variation form to project their imagination and coloring of a simple melody. They used many different techniques to vary melodies and create their own music. Beethoven's Piano Sonata No. 12 in A-flat Major Op. 26 breaks with the conventional sonata design by using variation form instead of sonata-allegro form for the first movement, and having no movement in sonata-allegro form. Chopin's Variations Brillantes on "Je Vends des scapulaires" Op. 12 and Henri Herz's Variations on 'Non piu mesta" from "La Cenerentola" shows how they applied their art to composing variations on opera themes. Mendelssohn's Variations Serieuses Op. 54 was a reaction against the salon music in the 19" century. Schubert applies the variation form to his Impromptus in B-flat D. 935 No. 3. Schurnann's Symphonic Etudes represents a perfect example of the arts of variation, using counterpoint, and special coloring; and Faure's Theme and Variations Op. 73 represents one of the most outstanding nineteenth-century works in variation form. As a traditionalist in the nineteenth century, Brahms favored the variations over other classic forms. I have performed three of his most important sets of variations: including Variations on a theme by Schumann Op. 9, Variations on a Theme by Handel Op. 24, and Variations for two pianos on a Theme by Haydn Op. 56b. The variations listed above were divided into three recitals. These variations represent a very important part of the piano music of the nineteenth century. By discovering, preparing, and performing these wonderful works, I have grown, both as a pianist and as a musician.

Selected Piano Works by Schumann, Liszt, and Brahms Incorporating or Based on Pre-existing Music

This dissertation shows how Schumann, Liszt and Brahms composed piano works based in a variety of ways on other music that already existed. My idea to do this project came through my fascination with Brahms’s Variations on a Theme by Paganini, which was the first piece selected. Brahms composed six sets of variations for solo piano, and I also chose Variations and Fugue on a Theme by Handel. Besides the variations, I included Brahms’s Ballade in D minor, Op. 10 No. 1, based on the Scottish ballad “Edward”. This piece demonstrates that Brahms applied pre-existing music not only in the form of variations, but also in other genres. Among Romantic composers, Schumann and Liszt are two others besides Brahms whose music frequently quotes pre-existing materials. In Schumann’s output, the inspiration from Clara Wieck is significant. The best examples may be the Impromptus Op. 5 and the third movement of the Grand Sonata No. 3, Op. 14, in which Schumann quotes the music by Clara Wieck as the theme of the variations and in the other movements as well to unify the entire piece. In addition, Schumann quotes the old German folk song “Grossvater Tanz” (Grandfather Dance) in the finale of Papillons. The same tune also appears in Carnaval for a programmatic purpose. These two pieces are a clear illustration that Schumann applies pre-existing music, and in addition they represent the spirit of literary reference. Liszt is well known for his superb transformations of other composers’ works into glorious piano compositions. Liszt drew his inspirations from different genres, including both vocal and instrumental music. His ability to turn earlier musical materials into virtuosic solo piano pieces that demonstrate his brilliance in creating imaginative keyboard sounds is remarkable. Among those pieces composed by Liszt, terms such paraphrase, reminiscence, or fantasy frequently appear as titles. I selected two such pieces: Rigoletto: Paraphrase de concert, S. 434 and Rondeau fantastique sur un thème espagnol, S. 252. In addition, Liszt also uses variation form to explore the possibilities of pre-existing themes. The piece I chose to represent this is Variations on the Theme “Weinen, Klagen, Sorgen, Zagen” and Crucifixus from the Mass in B minor by J.S Bach, S.180. This dissertation comprises three piano recitals that were performed in 2010 and 2011 in Ulrich Recital Hall and Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center of the University of Maryland. The recordings are documented on compact discs that are housed within the University of Maryland Library System.

The Legacy of Oboist and Master Teacher, Robert Bloom

Robert Bloom (1908-1994) was legendary in the education and performance world. Often hailed as one of the last performers of the Golden Era of classical music and a favorite of conductors ranging from Stokowski to Stravinsky to Shaw, Bloom was an orchestral oboist and English hornist, oboe soloist, chamber musician, teacher (Eastman, Yale, Hartt, Manhattan School of Music, Juilliard and Philadelphia's University of the Arts), composer, conductor, editor of masterworks of the 18th century, and, as a founding member of the Bach Aria group, a seminal influence in the post-WWII revival of Baroque music in America. In The Robert Bloom Collection and the Art of Robert Bloom CD and video archives, we see what his musical ideals were in 1)18th-century performance practices, 2) writing new music for the instrument and commissioning new works, and 3) and transcribing music for the oboe and English horn. As an oboist, I believe it is important that Bloom's teachings, historical performance practices and ideas for expanding repertoire are propagated. Therefore, the works chosen for this dissertation illustrated this legacy. My recitals included 1) some of Bloom's published 18th-century baroque elaborations (his term for ornamentation), as well Baroque works which I have elaborated, 2) works written by him and by other oboists/composers (Labate, Roseman) as well as a flute/oboe duo that I commissioned by Dr. Marcus Maroney and 3) transcriptions by both Bloom and myself (Bach, Donizetti, Mendelssohn, Mozart, Handel, Schumann and Telemann). In these three dissertation recitals, I hope to have illustrated some of Robert Bloom's lasting contributions and impact on the oboe world, and to have demonstrated the potential for carrying forward this legacy by studying his teaching and emulating his example.

Efficient FPGA Hardware Development: A Multi-Language Approach

This paper presents a multi-language framework to FPGA hardware development which aims to satisfy the dual requirement of high-level hardware design and efficient hardware implementation. The central idea of this framework is the integration of different hardware languages in a way that harnesses the best features of each language. This is illustrated in this paper by the integration of two hardware languages in the form of HIDE: a structured hardware language which provides more abstract and elegant hardware descriptions and compositions than are possible in traditional hardware description languages such as VHDL or Verilog, and Handel-C: an ANSI C-like hardware language which allows software and hardware engineers alike to target FPGAs from high-level algorithmic descriptions. On the one hand, HIDE has proven to be very successful in the description and generation of highly optimised parameterisable FPGA circuits from geometric descriptions. On the other hand, Handel-C has also proven to be very successful in the rapid design and prototyping of FPGA circuits from algorithmic application descriptions. The proposed integrated framework hence harnesses HIDE for the generation of highly optimised circuits for regular parts of algorithms, while Handel-C is used as a top-level design language from which HIDE functionality is dynamically invoked. The overall message of this paper posits that there need not be an exclusive choice between different hardware design flows. Rather, an integrated framework where different design flows can seamlessly interoperate should be adopted. Although the idea might seem simple prima facie, it could have serious implications on the design of future generations of hardware languages.

Hui and Walter's latent-class model extended to estimate diagnostic test properties from surveillance data: a latent model for latent data

Diagnostic test sensitivity and specificity are probabilistic estimates with far reaching implications for disease control, management and genetic studies. In the absence of 'gold standard' tests, traditional Bayesian latent class models may be used to assess diagnostic test accuracies through the comparison of two or more tests performed on the same groups of individuals. The aim of this study was to extend such models to estimate diagnostic test parameters and true cohort-specific prevalence, using disease surveillance data. The traditional Hui-Walter latent class methodology was extended to allow for features seen in such data, including (i) unrecorded data (i.e. data for a second test available only on a subset of the sampled population) and (ii) cohort-specific sensitivities and specificities. The model was applied with and without the modelling of conditional dependence between tests. The utility of the extended model was demonstrated through application to bovine tuberculosis surveillance data from Northern and the Republic of Ireland. Simulation coupled with re-sampling techniques, demonstrated that the extended model has good predictive power to estimate the diagnostic parameters and true herd-level prevalence from surveillance data. Our methodology can aid in the interpretation of disease surveillance data, and the results can potentially refine disease control strategies.

Urban Leptospirosis in Africa: A Cross-Sectional Survey of Leptospira Infection in Rodents in the Kibera Urban Settlement, Nairobi, Kenya

Leptospirosis is a widespread but under-reported cause of morbidity and mortality. Global re-emergence of leptospirosis has been associated with the growth of informal urban settlements in which rodents are thought to be important reservoir hosts. Understanding the multi-host epidemiology of leptospirosis is essential to control and prevent disease. A cross-sectional survey of rodents in the Kibera settlement in Nairobi, Kenya was conducted in September–October 2008 to demonstrate the presence of pathogenic leptospires. A real-time quantitative polymerase chain reaction showed that 41 (18.3%) of 224 rodents carried pathogenic leptospires in their kidneys, and sequence data identified Leptospira interrogans and L. kirschneri in this population. Rodents of the genus Mus (37 of 185) were significantly more likely to be positive than those of the genus Rattus (4 of 39; odds ratio = 15.03). Questionnaire data showed frequent contact between humans and rodents in Kibera. This study emphasizes the need to quantify the public health impacts of this neglected disease at this and other urban sites in Africa.

Erfolgsfaktoren im Vertrieb : Ergebnisse einer Expertenbefragung

Studienprojektbericht im Fachgebiet „Handel und Dienstleistungen“ des Fachbereichs Wirtschaft der Fachhochschule Hannover im Wintersemester. Ziel des Projekts war die Ermittlung von Erfolgsfaktoren der Vertriebsoptimierung, insbesondere auf „B to C Märkten“ (Business to Customer).

Krankenhausmarketing in der Praxis - Ergebnisse einer empirischen Befragung

Bericht des Studienprojekts "Krankenhausmarketing" am Fachbereich Wirtschaft der Fachhochschule Hannover, im Schwerpunkt Handel- und Dienstleistungen. Projektzielsetzungen waren eine Ist-Analyse der Marketing-Aktivitäten von Krankenhäusern und das Feedback an alle Befragungsteilnehmer, als Anregung für die Verbesserung der Marketingarbeit im eigenen Hause.

Vertikale Integrationsstrukturen kommunaler Verkehrsunternehmen : eine transaktionskostentheoretische Evaluation

Der Markt für öffentlichen Personennahverkehr (ÖPNV) wird liberalisiert, in die gewachsenen Monopolstrukturen werden Marktmechanismen implementiert. Ziel der neuen ordnungspolitischen Rahmenbedingungen ist die Steigerung der Effizienz des defizitären Verkehrsbereichs, der von kommunalen Verkehrsunternehmen dominiert wird. Diese erbringen als Quasi-Monopolisten traditionell die Verkehrsdurchführung, regelmäßig anfallende Defizite werden von der öffentlichen Hand ausgeglichen. Bedingt durch ihre Leistungsstrukturen sind kommunale Verkehrsunternehmen in einem Wettbewerbsmarkt kaum konkurrenzfähig. Charakteristisch für diesen Unternehmenstyp ist der hohe Grad an vertikal integrierten Wertschöpfungsstufen. Im Gegensatz zu anderen Branchen erbringen kommunale Verkehrsunternehmen die wesentlichen Teile der gesamten ÖPNV-Wertschöpfungskette innerhalb der eigenen Unternehmensgrenzen. An dem hohen vertikalen Integrationsgrad setzt die Untersuchung an. Mit dem von Williamson entwickelten Instrumentarium der Transaktionskostentheorie werden die Leistungsbereiche einer transaktionskostentheoretischen Bewertung unterzogen. Als Alternativen zum institutionellen Arrangement der vertikalen Integration – das als Hierarchie bezeichnet wird – stehen die Arrangements Kooperation und Markt zur Verfügung. Die Bewertung zeigt, welche Leistungsbereiche unter transaktionskostentheoretischen Gesichtspunkten hierarchisch institutionalisiert werden sollten und welche alternativ erbracht werden können. Aus den Ergebnissen werden Strategieempfehlungen abgeleitet, die als Arbeitshypothesen einer anschließenden empirischen Überprüfung unterzogen werden. Die befragten ÖPNV-Experten bewerten somit die Marktfähigkeit der Strategieempfehlungen. Die Untersuchungsergebnisse werden für die Erarbeitung eines alternativen Koordinierungsarrangements für kommunale Verkehrsunternehmen herangezogen. Das Modell basiert auf der Grundlage Strategischer Netzwerke. Kommunale Verkehrsunternehmen nehmen in dem Modell die Rolle des Nukleus ein, der eine Vielzahl von Netzwerkpartnern steuert und für die Erbringung der ÖPNV-Leistungen mit diesen kooperiert.

Die Auswirkungen von Hochgeschwindigkeitsverkehr auf die Erreichbarkeit der Regionen in Deutschland - dargestellt am Beispiel der Magnetschwebebahn Transrapid

Nach 35 Jahren Entwicklungszeit wurde im Jahr 2004 in Shanghai die erste kommerzielle Anwendung des innovativen Magnetbahnsystems Transrapid in Betrieb genommen; in Deutschland konnte bislang keine Transrapid-Strecke realisiert werden, obwohl dieses System entsprechend den Ergebnissen einer vom damaligen Bundesverkehrsminister beauftragten Studie aus dem Jahr 1972 für den Einsatz in Deutschland entwickelt wurde. Beim Transrapid handelt es sich um eine echte Produkt-Innovation im Bahnverkehr und nicht um eine Weiterentwicklung oder Optimierung wie beim ICE, und ist somit als innovativer Verkehrsträger der Zukunft in die langfristige Entwicklung der Verkehrssysteme einzufügen. Die modernen HGV Bahnsysteme (Shinkansen/TGV/ICE) hingegen sind, ähnlich der Clipper in der Phase der Segelschifffahrt im Übergang zum Dampfschiff, letzte Abwehrentwicklungen eines am Zenit angekommenen Schienen-Verkehrssystems. Die Einführung von Innovationen in einen geschlossenen Markt stellt sich als schwierig dar, da sie zu einem Bruch innerhalb eines etablierten Systems führen. Somit wird in der vorliegenden Arbeit im ersten Teil der Themenkomplex Innovation und die Einordnung der Magnet-Schwebe-Technologie in diese langfristig strukturierten Abläufe untersucht und dargestellt. Das Transrapid-Projekt ist demzufolge in eine zeitstrukturelle Zyklizität einzuordnen, die dafür spricht, die Realisierung des Gesamtprojektes in eine Zeitspanne von 20 bis 30 Jahre zu verlagern. Im zweiten Teil wird auf der Basis einer regionalstrukturellen Analyse der Bundesrepublik Deutschland ein mögliches Transrapidnetz entworfen und die in diesem Netz möglichen Reisezeiten simuliert. Weiterhin werden die Veränderungen in den Erreichbarkeiten der einzelnen Regionen aufgrund ihrer Erschließung durch das Transrapidnetz simuliert und grafisch dargestellt. Die vorliegende Analyse der zeitlichen Feinstruktur eines perspektiven Transrapidnetzes ist ein modellhafter Orientierungsrahmen für die Objektivierung von Zeitvorteilen einer abgestimmten Infrastruktur im Vergleich zu real möglichen Reisezeiten innerhalb Deutschlands mit den gegebenen Verkehrsträgern Schiene, Straße, Luft. So würde der Einsatz des Transrapid auf einem entsprechenden eigenständigen Netz die dezentrale Konzentration von Agglomerationen in Deutschland fördern und im Durchschnitt annähernd 1 h kürzere Reisezeiten als mit den aktuellen Verkehrsträgern ermöglichen. Zusätzlich wird noch ein Ausblick über mögliche Realisierungsschritte eines Gesamtnetzes gegeben und die aufgetretenen Schwierigkeiten bei der Einführung des innovativen Verkehrssystems Transrapid dargestellt.