Archaeological Investigation at Slayton House, 18AP74, Annapolis, Maryland

Archaeological investigation at the Slayton House site in Annapolis revealed evidence of occupation of the lot since the early 18th century. The intact late 18th century ground surfaces on which John Ridout built the row houses, and subsequent changes in the landscape and use of the yard as work space in the 19th century were discovered. There was ample visible evidence of the early 20th century landscape and use of the yard as a pleasure garden when excavation was started. Deposits inside the house were quite disturbed, but there was evidence of the work done by the African Americans who lived there. A number of artifacts were found which may indicate the slaves and free African Americans were practicing African-related folk beliefs. No further investigations are recommended for the site. However, if severe or deep ground-disturbing activities were to take place on the property, they should be monitored by a qualified archaeologist.

Archaeological Excavations at the Sands House (18AP47)

The Sands House (18AP47) is located at 130 Prince George Street in Annapolis, Maryland. Historical documentation notes that a house stood on the property at least by 1706 (Liber W.T. 2, 1706: 402). Archaeological evidence indicates that an earthfast structure was built in about 1700. This building has been modified and renovated extensively. In the 1720's a fieldstone foundation was put under the house and in the late 18th century an addition was made to the west side of the house. In 1904 an addition was put on the rear of the house and the entire structure was raised. Archaeological excavations were conducted inside and outside the Sands House in 1988 by Archaeology in Annapolis. This work was sponsored by Historic Annapolis Foundation and the University of Maryland, College Park. This volume is the final site report for the archaeological investigations at the Sands House.

THE DIVERGENT PATHS OF OPERA IN THE CLASSICAL PERIOD AS SEEN THROUGH THE OPERATIC WORKS OF CHRISTOPH WILLIBALD GLUCK AND WOLFGANG AMADEUS MOZART

Although evidence of Gluck's influence on Mozart is sometimes discernible, by examining the two operas I have performed and a recital of arias by these two composers we can see clear contrasts in their approach to and expression of classical opera. The two operas discussed are Gluck's Armide and Mozart's Le Nozze di Figaro. Gluck and Mozart were both innovators but in very different ways. Gluck comes from a dramatic background (his principles have been compared to those of Wagner) and Mozart brings together dramatic excellence with the greatness of his musical genius, his gift of melody, and his ensemble writing, which is arguably unequaled in the repertory. A well-rounded performer strives to understand what the composer is really trying to say with his work, what the message to the audience is and what his particular way of conveying it is. The understanding of a composer's approach to drama and character interaction plays a huge role in character development. This applies no matter what role you are preparing whether it is baroque opera or late romantic. Discovering the ideals, style, and purpose of a composer contributes to an effective and rewarding performance experience, for those on stage, those in the pit, and those sitting in the seats.

OPERA IN AMERICA: MUSIC OF, BY, AND FOR THE PEOPLE­: A PERFORMANCE DISSERTATION

Opera in America: Music of, by, and for the people is a study of the relationship between American popular culture and opera in the United States. Four performance projects demonstrate the on-going exchange between the operatic community-including its composer, singers, and patrons-and the country's popular entertainment industry with its broad audience base. Numerous examples of artistic cross pollination between lowbrow and highbrow music will illustrate the artistic and social consequences created by this artistic amalgamation. Program #1, By George! By Ira! By Gershwin!, is a retrospective of Gershwin's vocal music representing a blending of popular and serious music in both style and form. The concert includes selections from Porgy and Bess, a work considered by many musicologists as the first American opera. Program #2, Shadowboxer, is a premiere performance of an opera by Frank Proto and John Chenault. For this newly commissioned work, I serve as Assistant Director to Leon Major. Shadowboxer provides a clear example of opera utilizing popular culture both musically and dramatically to tell the true story of American hero and legendary boxer, Joe Louis. Program #3, Just a Song at Twilight, is an original theatrical music piece featuring music, letters, diaries, and journals of the Gilded Age, an era when opera was synonymous with popular entertainment. Special attention is focused on tum-of­ the-century singers who performed in both opera and vaudeville. Program #4 is a presentation of Dominick Argento's Miss Manners on Music and illustrates the strong relationship that can exist between opera and American popular entertainment. Originally conceived as a song cycle, I have staged the work as a one-act opera sung and acted by soprano Carmen Balthrop. This piece is based on the writings of pop icon and newspaper columnist Judith Martin, otherwise known as Miss Manners. All four performances are recorded in audio and video formats.

Music for Three Stages: Performance Preparation for Opera, Operetta and Recital

Music for Three Stages: Performance Preparation for Opera, Operetta and Recital began as three stand-alone performances: two operas, Albert Herring and Die Fledermaus, as assigned by my opera program, and a recital of music by composers who wrote operas, art songs and non-operatic large-scale works, which I programmed. Upon starting the process of preparing for these three performances, I hypothesized that each would require unique preparation techniques. What I discovered, however, was that instead of each being unique and isolated in preparation, each performance, along with other performances that I had throughout the year, highly informed my approach to each piece. Through the preparation of program notes, included in this dissertation, as well as the musical preparation of each performance, I concluded that preparing for these performances was a long arc over the course of the year, with much give and take among the styles of music and an integrated style of preparation, instead of the individualized preparations that I expected.

A systematic comparison of buildingEXODUS predictions with experimental data from the Stapelfeldt trials and the Milburn House evacuation

In this paper, the buildingEXODUS evacuation model is described and discussed and attempts at qualitative and quantitative model validation are presented. The data sets used for validation are the Stapelfeldt and Milburn House evacuation data. As part of the validation exercise, the sensitivity of the building-EXODUS predictions to a range of variables is examined, including occupant drive, occupant location, exit flow capacity, exit size, occupant response times and geometry definition. An important consideration that has been highlighted by this work is that any validation exercise must be scrutinised to identify both the results generated and the considerations and assumptions on which they are based. During the course of the validation exercise, both data sets were found to be less than ideal for the purpose of validating complex evacuation. However, the buildingEXODUS evacuation model was found to be able to produce reasonable qualitative and quantitative agreement with the experimental data.

Moving architecture: house in Clarence Mews, Hackney, east London.

Description of design of house that includes a dance studio