Echoes from Moravia = Klänge aus Mähren : op. 32 : thirteen two-part songs for soprano and alto, with pianoforte accompaniment /

Label mounted on t. p. reads: English translations by Th. Baker.

The harmonia : a collection of four-part songs, for male voices, with German and English words /

Parts for tenor I, tenor II, bass I, and bass II.

Songs of Ireland : 100 most popular Irish songs /

For voice and piano.

Aloha collection of Hawaiian songs /

For voice and piano; most songs also include mixed chorus (SATB).

The Nativity : a play, with music, for children : founded on old French songs /

Includes instructions for performance.

The new Yale song-book : a collection of songs in use by the Glee Club and students of Yale University /

Includes photographs of the Yale campus.

High-flux ceramic membranes with a nanomesh of metal oxide nanofibers

Traditional ceramic separation membranes, which are fabricated by applying colloidal suspensions of metal hydroxides to porous supports, tend to suffer from pinholes and cracks that seriously affect their quality. Other intrinsic problems for these membranes include dramatic losses of flux when the pore sizes are reduced to enhance selectivity and dead-end pores that make no contribution to filtration. In this work, we propose a new strategy for addressing these problems by constructing a hierarchically structured separation layer on a porous substrate using large titanate nanofibers and smaller boehmite nanofibers. The nanofibers are able to divide large voids into smaller ones without forming dead-end pores and with the minimum reduction of the total void volume. The separation layer of nanofibers has a porosity of over 70% of its volume, whereas the separation layer in conventional ceramic membranes has a porosity below 36% and inevitably includes dead-end pores that make no contribution to the flux. This radical change in membrane texture greatly enhances membrane performance. The resulting membranes were able to filter out 95.3% of 60-nm particles from a 0.01 wt % latex while maintaining a relatively high flux of between 800 and 1000 L/m2·h, under a low driving pressure (20 kPa). Such flow rates are orders of magnitude greater than those of conventional membranes with equal selectivity. Moreover, the flux was stable at approximately 800 L/m2·h with a selectivity of more than 95%, even after six repeated runs of filtration and calcination. Use of different supports, either porous glass or porous alumina, had no substantial effect on the performance of the membranes; thus, it is possible to construct the membranes from a variety of supports without compromising functionality. The Darcy equation satisfactorily describes the correlation between the filtration flux and the structural parameters of the new membranes. The assembly of nanofiber meshes to combine high flux with excellent selectivity is an exciting new direction in membrane fabrication.

Broadband high-gain optical parametric chirped-pulse amplification near 780 nm with LBO-I near-degenerate near-collinear phase match

Near-degenerative near-collinear phase-match geometry for broadband optical parametric chirped-pulse amplification (OPCPA) at approximate to 780 nm is calculated in comparison with nondegenerate noncollinear phase-match geometry. In an experiment on LBO-I near-degenerate near-collinear OPCPA, high gain with broad gain bandwidth (approximate to 71 nm, FWHM) at approximate to 780 nm is achieved by using an approximate to 390-nm pumping pulse. The stretched broadband chirped signal pulse near 780 nm is amplified to approximate to 412 mu J with a pumping energy of approximate to 15 mJ, and the total gain is > 3.7 X 10(6), which agrees well with the calculation. For a broadband (covering approximate to 100 nm) chirped signal pulse, the theoretical gain bandwidth has been attained experimentally for the first time. (c) 2005 Society of Photo-Optical Instrumentation Engineers.

Broadband high-gain optical parametric chirped-pulse amplification near 780 nm with LBO-I near-degenerate near-collinear phase match

Near-degenerative near-collinear phase-match geometry for broadband optical parametric chirped-pulse amplification (OPCPA) at approximate to 780 nm is calculated in comparison with nondegenerate noncollinear phase-match geometry. In an experiment on LBO-I near-degenerate near-collinear OPCPA, high gain with broad gain bandwidth (approximate to 71 nm, FWHM) at approximate to 780 nm is achieved by using an approximate to 390-nm pumping pulse. The stretched broadband chirped signal pulse near 780 nm is amplified to approximate to 412 mu J with a pumping energy of approximate to 15 mJ, and the total gain is > 3.7 X 10(6), which agrees well with the calculation. For a broadband (covering approximate to 100 nm) chirped signal pulse, the theoretical gain bandwidth has been attained experimentally for the first time. (c) 2005 Society of Photo-Optical Instrumentation Engineers.

High-performance 2 mm gate width GaNHEMTs on 6H-SiC with output power of 22.4 W @ 8 GHz

Optimized AlGaN/AlN/GaN high electron mobility transistors (HEMTs) structures were grown on 2-in semi-insulating (SI) 6H-SiC substrate by metal-organic chemical vapor deposition (MOCVD). The 2-in. HEMT wafer exhibited a low average sheet resistance of 305.3 Omega/sq with a uniformity of 3.85%. The fabricated large periphery device with a dimension of 0.35 pm x 2 nun demonstrated high performance, with a maximum DC current density of 1360 mA/mm, a transconductance of 460 mS/mm, a breakdown voltage larger than 80 V, a current gain cut-off frequency of 24 GHz and a maximum oscillation frequency of 34 GHz. Under the condition of continuous-wave (CW) at 9 GHz, the device achieved 18.1 W output power with a power density of 9.05 W/mm and power-added-efficiency (PAE) of 36.4%. While the corresponding results of pulse condition at 8 GHz are 22.4 W output power with 11.2 W/mm power density and 45.3% PAE. These are the state-of-the-art power performance ever reported for this physical dimension of GaN HEMTs based on SiC substrate at 8 GHz. (c) 2008 Elsevier Ltd. All rights reserved.

RF-MBE Grown AlGaN/GaN HEMT Structure with High Al Content

A Si doped AlGaN/GaN HEMT structure with high Al content (x= 44%) in the barrier layer is grown on sapphire substrate by RF-MBE. The structural and electrical properties of the heterostructure are investigated by the triple axis X-ray diffraction and Van der Pauw-Hall measurement, respectively. The observed prominent Bragg peaks of the GaN and AlGaN and the Hall results show that the structure is of high quality with smooth interface.fabricated and characterized. Better DC characteristics, maximum drain current of 1.0A/mm and extrinsic transconductance of 218mS/mm are obtained when compared with HEMTs fabricated using structures with lower Al mole fraction in the AlGaN barrier layer. The results suggest that the high Al content in the AlGaN barrier layer is promising in improving material electrical properties and device performance.

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.

SOLO AND CHAMBER CLARINET WORKS BY AMERICAN- BORN WOMEN COMPOSERS: 1990-2005

During the period of 1990-2005, American-born women composers have contributed significantly to the standard clarinet repertoire. Pioneering composers such as Joan Tower, Margaret Brouwer, and Libby Larsen have created staples for clarinet literature. Yet, there is very little scholarly research on women composers of clarinet music, most being concentrated on Joan Tower. Through my research, I have discovered over seventy-five works by more than fifty composers in the following genres: solo clarinet; clarinet and piano; clarinet and voice, with or without piano; and small chamber pieces for up to five players. This performance dissertation project consists of three recitals featuring solo and chamber works by nine living women composers, and program notes containing pertinent biographical and compositional information. My intent is to increase recognition women composers, both prominent and lesser known, who are writing high-quality, accessible clarinet literature. Each woman selected is making a full or partial living from the sales of her compositions, has received recognition through awards, commissions, grants, and frequent performances, and has composed works that are both performer and audience accessible. Recital 1: Trios for Clarinet, Violin, and Piano Commissioned by the Verdehr Trio and Composed by American-Born Women Composers. Composers: Jennifer Higdon, Joan Tower, Margaret Brouwer, and Libby Larsen. Recital II: Programmatic Clarinet Works by American-Born Women Composers. Composers: Andrea Clearfield, Stella Sung, and Karen Amrhein. Recital III: Works for Solo Clarinet, Clarinet and Piano, and Clarinet Concerto Genres by American-Born Women Composers. Composers: Persis Parshall Vehar, Jenni Brandon, Margaret Brouwer, and Libby Larsen.

MUSICAL THEATER AND THE CLASSICAL VOICE: CROSSOVER SINGING IN THE TWENTIETH CENTURY

This dissertation explores the transformation of opera comique (as represented by the opera Carmen) and the impact of verismo style (as represented by the opera La Boheme) upon the development of operetta, American musical theater and the resultant change in vocal style. Late nineteenth-century operetta called for a classically trained soprano voice with a clear vibrato. High tessitura and legato were expected although the quality of the voice was usually lighter in timbre. The dissertation comprises four programs that explore the transformation of vocal and compositional style into the current vocal performance practice of American musical theater. The first two programs are operatic roles and the last two are recital presentations of nineteenth- and twentieth- century operetta and musical theater repertoire. Program one, Carmen, was presented on July 26, 2007 at the Marshall Performing Arts Center in Duluth, MN where I sang the role of Micaela. Program two, La Boheme, was presented on May 24,2008 at Randolph Road Theater in Silver Spring, MD where I sang the role of Musetta. Program three, presented on December 2, 2008 and program four, presented on May 10, 2009 were two recitals featuring operetta and musical theater repertoire. These programs were heard in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center in College Park, MD. Programs one and two are documented in a digital video format available on digital video disc. Programs three and four are documented in a digital audio format available on compact disc. All programs are accompanied by program notes also available in digital format.