Phase Locked Loop and Modulo Games, The Dogma Loops; and “Finding Ibrida”

This dissertation consists of two independent musical compositions and an article detailing the process of the design and assembly of an electric guitar with particular emphasis on the carefully curated suite of embedded effects.

The first piece, 'Phase Locked Loop and Modulo Games' is scored for electric guitar and a single echo of equal volume less than a beat away. One could think of the piece as a 15 minute canon at the unison at the dotted eighth note (or at times the quarter or triplet-quarter), however the compositional motivation is more about weaving a composite texture between the guitar and its echo that is, while in theory extremely contrapuntal, in actuality is simply a single [superhuman] melodic line.

The second piece, 'The Dogma Loops' picks up a few compositional threads left by ‘Phase Locked Loop’ and weaves them into an entirely new tapestry. 'Phase Locked Loop' is motivated by the creation of a complex musical composite that is for the most part electronically transparent. 'The Dogma Loops' questions that same notion of composite electronic complexity by essentially asking a question: "what are the inputs to an interactive electronic system that create the most complex outputs via the simplest musical means possible?"

'The Dogma Loops' is scored for Electric Guitar (doubling on Ukulele), Violin and Violoncello. All of the principal instruments require an electronic pickup (except the Uke). The work is in three sections played attacca; [Automation Games], [Point of Origin] and [Cloning Vectors].

The third and final component of the document is the article 'Finding Ibrida.' This article details the process of the design and assembly of an electric guitar with integrated effects, while also providing the deeper context (conceptual and technical) which motivated the efforts and informed the challenges to hybridize the various technologies (tubes, transistors, digital effects and a microcontroller subsystem). The project was motivated by a desire for rigorous technical and hands-on engagement with analog signal processing as applied to the electric guitar. ‘Finding Ibrida’ explores sound, some myths and lore of guitar tech and the history of electric guitar distortion and its culture of sonic exploration.

RACHMANINOFF AND MEDTNER: SELECTED WORKS FROM THE SOLO AND COLLABORATIVE PIANO REPERTOIRE

Sergei Rachmaninoff and Nikolai Medtner occupy a special place in the history of Russian music. Both composers were exceptional pianists and left us some of the greatest works in the piano repertoire. Although these composers shared many similarities, and were often compared, their musical languages and views on composition were very different. Unfortunately, Medtner’s music, which Rachmaninoff admired greatly, has remained neglected for several generations of performers and listeners. In my dissertation I will explore the similarities and contrasts in Rachmaninoff’s and Medtner’s music. Through these performances, I hope to encourage other musicians to discover the imaginative power of Medtner’s music. Of course, no such encouragement is needed for Rachmaninoff’s extremely popular music; however, the technical and musical challenges of performing that repertoire are an invaluable part of every pianist’s education. This dissertation project was presented in three recitals which were performed in Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland on May 8, 2014, December 5, 2014 and March 21, 2016. The following pieces comprised the survey of Rachmaninoff music: Vocalise Op. 34, Variations on a Theme of Corelli Op. 42, Piano Concerto No 2 Op. 18, Selected Songs Opp. 4 and 8, and two Moments Musicaux Op. 16 - Nos 3 and 4. The following pieces were included to represent Medtner: Sonata for Violin and Piano Op. 57 in E minor “Epica”, Fairy Tales for solo piano Op. 20 No 1, Op. 26 No 3 and Op. 51 No 1, and Selected Songs Op. 6 and 15. My partners in this project were Lilly Ahn, soprano, Jennifer Lee, violin and Nadezhda Christova, piano. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Graduate Violin Recital

Sonata for Solo Violin in G-minor, J. S. Bach (1685-1750) Adagio Fuga Siciliana Presto Sonata for Violin and Piano in G-major, L. Beethoven (1770-1827) Allegro assai Tempo di Menuetto Allegro vivace Sonata for Violin and Piano in A-major, G. Faure (1845-1924) Allegro molto Andante Allegro vivo Allegro quasi presto Jennifer Snyder, piano

«Norma a' piu famosi compositori di sonate a solo». Le sonate per violino di Carlo Ambrogio Lonati

Sempre più spesso negli ultimi decenni la figura e la musica di Carlo Ambrogio Lonati (c.1645-post 1701) hanno destato l’interesse degli studiosi e degli esecutori, i quali hanno preso in considerazione singoli aspetti della sua biografia e della sua produzione. Tuttavia, il processo di riscoperta e di recupero è stato ostacolato dalla mancanza di un’investigazione complessiva e integrata, capace tanto di dar conto della poliedricità di Lonati – violinista, compositore, cantante, didatta – quanto di riesaminare e ricontestualizzare le sue composizioni. Questa dissertazione tenta di colmare tale lacuna e propone una riconsiderazione di Lonati alla luce della sua produzione per violino. L’impiego di un approccio circolare fa in modo che mentre le composizioni violinistiche offrono un canale privilegiato allo studio del percorso artistico e dell’opera di questo compositore, la riconsiderazione critica della biografia permette di calare la musica per violino in un contesto ampio, oltre le distinzioni tra generi. L’integrazione di approcci metodologici differenti ha permesso di proporre una visione completamente nuova del compositore e di riformulare lo studio delle sonate violinistiche. Uno scrupoloso studio codicologico e filologico ha investito quattro testimoni a stampa e diciannove manoscritti e ha permesso di riconsiderare profondamente alcune composizioni già individuate. Suddivise in certe, attribuibili e dubbie, le trentuno sonate sono state poste sotto la lente di diverse prospettive interpretative e analitiche e appaiono differenti per tradizione e statuto testuale, stile, forma e scrittura. Il quadro multiforme che esse descrivono permette un approccio trasversale al repertorio violinistico e strumentale europeo del tardo Sei e del primo Settecento e introduce questioni relative all’autorialità, all’attribuzionismo e ai concetti di opus, creatività e stile. L’edizione critica delle diciannove sonate per violino inedite offre un primo confronto con questo repertorio; l’inventario di tutte le composizioni oggi note attribuite a Lonati fornisce invece le basi per i prossimi studi.

A motivação da aprendizagem de um instrumento musical em alunos do ensino básico articulado sob a perspectiva da teoria da auto-determinação no Conservatório Regional de Setúbal: relatório de estágio

O presente relatório, no âmbito da obtenção do grau de Mestre no Ensino da Música, na Escola Superior de Música de Lisboa, descreve o estágio efectuado no Conservatório Regional de Setúbal e analisa a prática pedagógica do professor através de três alunos de violino e viola d´arco de níveis diferentes: Iniciação (violino); 4º grau, Ensino Básico (viola d´arco) e 7º grau, Ensino Secundário (viola d´arco). São descritas e analisadas as práticas pedagógicas desenvolvidas com base na filosofia do Método Suzuki e na Teoria da Auto-­determinação de Edward L. Deci e Richard M. Ryan. O objectivo fundamental do processo de ensino-­ aprendizagem é a criação de condições para que os alunos se motivem autonomamente e atinjam níveis altos de motivação intrínseca (Teoria da Auto-­determinação), e que se tornem bons instrumentistas e melhores seres humanos (Método Suzuki).

Shostakovich i el violí : el Concert per a violí núm. 1 op. 77 i els Preludis op. 34

L’objectiu del projecte final titulat Shostakovich i el violí és l’estudi de la vida, el context històric i l’obra del cèlebre compositor rus Dmitri Shostakovich, parant una especial atenció en dues de les seves composicions: el Concert per a violí núm. 1 opus 77 i els Preludis per a piano opus 34 (arranjats per a violí i piano per Dmitri Tsyganov). La metodologia usada en l’elaboració del treball ha consistit en la recerca d’informació a través de biografies de Shostakovich, reculls de les seves memòries, records de persones pròximes al compositor, articles i cartes publicades per ell, així com estudis o anàlisis de les seves obres musicals. La conclusió extreta és que l’obra de Shostakovich està íntimament lligada amb el context històric en el qual va viure, és a dir, amb la seva època, tal com es pot apreciar tant en la seva escriptura com en el contingut emocional de les seves obres.

Schubert i les seves composicions per a violí

Amb aquest projecte he volgut aproximar-me al repertori de cambra per violí i piano del compositor vienès Franz Schubert. Les tres obres escollides són poc habituals a les sales de concert, en part per la seva complexitat tècnica i interpretativa, i representen tres propostes ben contrastants en la seva trajectòria compositiva. Es tracte de la introspectiva Sonatina en La menor D. 385, l’eloqüent Rondó Brillant en Si menor D. 895 i la seva obra de maduresa, la gran Fantasia en Do Major D. 934. Gràcies a l’anàlisi musical i la recerca del seu context cultural i artístic, juntament amb la meva experiència en l’instrument, he guanyat una percepció i comprensió molt més profunda de les seves obres, creixent com a persona i intèrpret amb el procés.

O ensino coletivo de cordas friccionadas produzido no SESC-Consolação, comparado com propostas de ensino coletivo realizadas no Reino Unido e nos EUA: Trajetória histórica, diferenças e similaridades pedagógicas e socioculturais

Pós-graduação em Música - IA

The Sociolinguistics of Hungarian Outside Hungary

This study describes the sociolinguistic situation of the indigenous Hungarian national minorities in Slovakia (c. 600,000), Ukraine (c. 180,000), Romania (c. 2,000,000), Yugoslavia (c. 300,000), Slovenia (c. 8,000) and Austria (c. 6,000). Following the guidelines of Hans Goebl et al, the historical sociolinguistic portrait of each minority is presented from 1920 through to the mid-1990s. Each country's report includes sections on geography and demography, history, politics, economy, culture and religion, language policy and planning, and language use (domains of minority and/or majority language use, proficiency, attitudes, etc.). The team's findings were presented in the form of 374 pages of manuscripts, articles and tables, written in Hungarian and English. The core of the team's research results lies in the results of an empirical survey designed to study the social characteristics of Hungarian-minority bilingualism in the six project countries, and the linguistic similarities and differences between the six contact varieties of Hungarian and Hungarian in Hungary. The respondents were divided by age, education, and settlement group - city vs. village and local majority vs. local minority. The first thing to be observed is that Hungarian is tending to be spoken less to children than to parents and grandparents, a familiar pattern of language shift. In contact varieties of Hungarian, analytic constructions may be used where monolingual Hungarians would use a more synthetic form. Mr Kontra gives as an example the compound tagdij, which in Standard Hungarian means "membership fee" but which is replaced in contact Hungarian by the two-word phrase tagsagi dij. Another similar example concerns the synthetic verb hegedult "played the violin" and the analytic expression hegedun jatszott. The contrast is especially striking between the Hungarians in the northern Slavic countries, who use the synthetic form frequently, and those in the southern Slavic countries, who mainly use the analytic form. Mr. Kontra notes that from a structural point of view, there is no immediate explanation for this, since Slovak or Ukrainian are as likely to cause interference as is Serbian. He postulates instead that the difference may be attributable to some sociohistoric cause, and points out that the Turkish occupation of what is today Voivodina caused a discontinuity of the Hungarian presence in the region, with the result that Hungarians were resettled in the area only two and a half centuries ago. However, the Hungarians in today's Slovakia and Ukraine have lived together with Slavic peoples continuously for over a millennium. It may be, he suggests, that 250 years of interethnic coexistence is less than is needed for such a contact-induced change to run its course. Next Mr. Kontra moved on to what he terms "mental maps and morphology". In Hungarian, the names of cities and villages take the surface case (eg. Budapest-en "in Budapest") whereas some names denoting Hungarian settlements and all names of foreign cities take the interior case (eg. Tihany-ban "in Tihany" and Boston-ban "in Boston). The role of the semantic feature "foreign" in suffix-choice can be illustrated by such minimal pairs as Velence-n "in Velence, a village in Hungary" versus Velence-ben "in Velence [=Venice], a city in Italy", and Pecs-en "in Pecs, a city in Hungary" vs. Becs-ben "in Becs, ie. Vienna". This Hungarian vs. foreign distinction is often interpreted as "belonging to historical (pre-1920) Hungary" vs. "outside historical Hungary". The distinction is also expressed in the dichotomy "home" vs. "abroad'. The 1920 border changes have had an impact on both majority and minority Hungarians' mental maps, the maps which govern the choice of surface vs. interior cases with placenames. As there is a growing divergence between the mental maps of majority and minority Hungarians, so there will be a growing divergence in their use of the placename suffixes. Two placenames were chosen to scratch the surface of this complex problem: Craiova (a city in Oltenia, Romania) and Kosovo (Hungarian Koszovo) an autonomous region in southeast Yugoslavia. The assumption to be tested was that both placenames would be used with the inessive (interior) suffixes categorically by Hungarians in Hungary, but that the superessive suffix (showing "home") would be used near-categorically by Hungarians in Romania and Yugoslavia (Voivodina). Minority Hungarians in countries other than Romania and Yugoslavia would show no difference from majority Hungarians in Hungary. In fact, the data show that, contrary to expectation, there is considerable variation within Hungary. And although Koszovo is used, as expected, with the "home" suffix by 61% of the informants in Yugoslavia, the same suffix is used by an even higher percentage of the subjects in Slovenia. Mr. Kontra's team suggests that one factor playing a role in this might be the continuance of the former Yugoslav mentality in the Hungarians of Slovenia, at least from the geographical point of view. The contact varieties of Hungarian show important grammatical differences from Hungarian in Hungary. One of these concerns the variable use of Null subjects (the inclusion or exclusion of the subject of the verb). When informants were asked to insert either megkertem or megkertem ot - "I asked her" - into a test sentence, 54.9% of the respondents in the Ukraine inserted the second phrase as opposed to only 27.4% in Hungary. Although Mr. Kontra and his team concentrated more on the differences between Contact Hungarian and Standard Hungarian, they also discovered a number of similarities. One such similarity is demonstrable in the distribution of what Mr. Kontra calls an ongoing syntactic merger in Hungarian in Hungary. This change means effectively that two possibilities merge to form a third. For instance, the two sentences Valoszinuleg kulfoldre fognak koltozni and Valoszinu, hogy kulfoldre fognak koltozni merge to form the new construction Valszinuleg, hogy kulfoldre fognak koltozni ("Probably they will move abroad."). When asked to choose "the most natural" of the sentences, one in four chose the new construction, and a chi-square test shows homogeneity in the sample. In other words, this syntactic change is spreading across the entire Hungarian-speaking region in the Carpathian Basin Mr. Kontra believes that politicians, educators, and other interested parties now have reliable and up-to-date information about each Hungarian minority. An awareness of Hungarian as a pluricentric language is being developed which elevates the status of contact varieties of Hungarian used by the minorities, an essential process, he believes, if minority languages are to be maintained.

Analysis of Phenotypic Variation in Childhood Wheezing Disorders

Recurrent wheezing or asthma is a common problem in children that has increased considerably in prevalence in the past few decades. The causes and underlying mechanisms are poorly understood and it is thought that a numb er of distinct diseases causing similar symptoms are involved. Due to the lack of a biologically founded classification system, children are classified according to their observed disease related features (symptoms, signs, measurements) into phenotypes. The objectives of this PhD project were a) to develop tools for analysing phenotypic variation of a disease, and b) to examine phenotypic variability of wheezing among children by applying these tools to existing epidemiological data. A combination of graphical methods (multivariate co rrespondence analysis) and statistical models (latent variables models) was used. In a first phase, a model for discrete variability (latent class model) was applied to data on symptoms and measurements from an epidemiological study to identify distinct phenotypes of wheezing. In a second phase, the modelling framework was expanded to include continuous variability (e.g. along a severity gradient) and combinations of discrete and continuo us variability (factor models and factor mixture models). The third phase focused on validating the methods using simulation studies. The main body of this thesis consists of 5 articles (3 published, 1 submitted and 1 to be submitted) including applications, methodological contributions and a review. The main findings and contributions were: 1) The application of a latent class model to epidemiological data (symptoms and physiological measurements) yielded plausible pheno types of wheezing with distinguishing characteristics that have previously been used as phenotype defining characteristics. 2) A method was proposed for including responses to conditional questions (e.g. questions on severity or triggers of wheezing are asked only to children with wheeze) in multivariate modelling.ii 3) A panel of clinicians was set up to agree on a plausible model for wheezing diseases. The model can be used to generate datasets for testing the modelling approach. 4) A critical review of methods for defining and validating phenotypes of wheeze in children was conducted. 5) The simulation studies showed that a parsimonious parameterisation of the models is required to identify the true underlying structure of the data. The developed approach can deal with some challenges of real-life cohort data such as variables of mixed mode (continuous and categorical), missing data and conditional questions. If carefully applied, the approach can be used to identify whether the underlying phenotypic variation is discrete (classes), continuous (factors) or a combination of these. These methods could help improve precision of research into causes and mechanisms and contribute to the development of a new classification of wheezing disorders in children and other diseases which are difficult to classify.

2e [i.e. deuxième] sonate pour violoncelle et piano /

Mode of access: Internet.

Erstes Trio, in F dur, Pianoforte, Violine und Violoncello /

Accompanied by the parts for violin and cello.

Grande sonate pastorale : pour la harpe ; avec une flu te oblige e /

For harp with flute obbligato.

Symphonien

v. 1. Pianoforte.--v. 2. Violine.