左中部梭状回枕颞沟内皮质对汉字加工的必要性、选择性和作用性质

A number of functional neuroimaging studies with skilled readers consistently showed activation to visual words in the left mid-fusiform cortex in occipitotemporal sulcus (LMFC-OTS). Neuropsychological studies also showed that lesions at left ventral occipitotemporal areas result in impairment in visual word processing. Based on these empirical observations and some theoretical speculations, a few researchers postulated that the LMFC-OTS is responsible for instant parallel and holistic extraction of the abstract representation of letter strings, and labeled this piece of cortex as “visual word form area” (VWFA). Nonetheless, functional neuroimaging studies alone is basically a correlative rather than causal approach, and lesions in the previous studies were typically not constrained within LMFC-OTS but also involving other brain regions beyond this area. Given these limitations, it remains unanswered for three fundamental questions: is LMFC-OTS necessary for visual word processing? is this functionally selective for visual word processing while unnecessary for processing of non-visual word stimuli? what are its function properties in visual word processing? This thesis aimed to address these questions through a series of neuropsychological, anatomical and functional MRI experiments in four patients with different degrees of impairments in the left fusiform gyrus. Necessity: Detailed analysis of anatomical brain images revealed that the four patients had differential foci of brain infarction. Specifically, the LMFC-OTS was damaged in one patient, while it remained intact in the other three. Neuropsychological experiments showed that the patient with lesions in the LMFC-OTS had severe impairments in reading aloud and recognizing Chinese characters, i.e., pure alexia. The patient with intact LMFC-OTS but information from the left visual field (LVF) was blocked due to lesions in the splenium of corpus callosum, showed impairment in Chinese characters recognition when the stimuli were presented in the LVF but not in the RVF, i.e. left hemialexia. In contrast, the other two patients with intact LMFC-OTS had normal function in processing Chinese characters. The fMRI experiments demonstrated that there was no significant activation to Chinese characters in the LMFC-OTS of the pure alexic patient and of the patient with left hemialexia when the stimuli were presented in the LVF. On the other hand, this patient, when Chinese characters were presented in right visual field, and the other two with intact LMFC-OTS had activation in the LMFC-OTS. These results together point to the necessity of the LMFC-OTS for Chinese character processing. Selectivity: We tested selectivity of the LMFC-OTS for visual word processing through systematically examining the patients’ ability for processing visual vs. auditory words, and word vs. non-word visual stimuli, such as faces, objects and colors. Results showed that the pure alexic patients could normally process auditory words (expression, understanding and repetition of orally presented words) and non-word visual stimuli (faces, objects, colors and numbers). Although the patient showed some impairments in naming faces, objects and colors, his performance scores were only slightly lower or not significantly different relative to those of the patients with intact LMFC-OTS. These data provide compelling evidence that the LMFC-OTS is not requisite for processing non-visual word stimuli, thus has selectivity for visual word processing. Functional properties: With tasks involving multiple levels and aspects of word processing, including Chinese character reading, phonological judgment, semantic judgment, identity judgment of abstract visual word representation, lexical decision, perceptual judgment of visual word appearance, and dictation, copying, voluntary writing, etc., we attempted to reveal the most critical dysfunction caused by damage in the LMFC-OTS, thus to clarify the most essential function of this region. Results showed that in addition to dysfunctions in Chinese character reading, phonological and semantic judgment, the patient with lesions at LMFC-OTS failed to judge correctly whether two characters (including compound and simple characters) with different surface features (e.g., different fonts, printed vs. handwritten vs. calligraphy styles, simplified characters vs. traditional characters, different orientations of strokes or whole characters) had the same abstract representation. The patient initially showed severe impairments in processing both simple characters and compound characters. He could only copy a compound character in a stroke-by-stroke manner, but not by character-by-character or even by radical-by-radical manners. During the recovery process, namely five months later, the patient could complete the abstract representation tasks of simple characters, but showed no improvement for compound characters. However, he then could copy compound characters in a radical-by-radical manner. Furthermore, it seems that the recovery of copying paralleled to that of judgment of abstract representation. These observations indicate that lesions of the LMFC-OTS in the pure alexic patients caused several damage in the ability of extracting the abstract representation from lower level units to higher level units, and the patient had especial difficulty to extract the abstract representation of whole character from its secondary units (e.g., radicals or single characters) and this ability was resistant to recover from impairment. Therefore, the LMFC-OTS appears to be responsible for the multilevel (particularly higher levels) abstract representations of visual word form. Successful extraction seems independent on access to phonological and semantic information, given the alexic patient showed severe impairments in reading aloud and semantic processing on simple characters while maintenance of intact judgment on their abstract representation. However, it is also possible that the interaction between the abstract representation and its related information e.g. phonological and semantic information was damaged as well in this patient. Taken together, we conclude that: 1) the LMFC-OTS is necessary for Chinese character processing, 2) it is selective for Chinese character processing, and 3) its critical function is to extract multiple levels of abstract representation of visual word and possibly to transmit it to phonological and semantic systems.

获取无意识结构知识的机制:主观熟悉感与刺激重复结构在人工语法学习中的作用

The nature of the distinction between conscious and unconscious knowledge is a core issue in the implicit learning field. Furthermore, the phenomenological experience associated with having knowledge is central to the conscious or unconscious status of that knowledge. Consistently, Dienes and Scott (2005) measured the conscious or unconscious status of structure knowledge using subjective measures. Believing that one is purely guessing when in fact one knows indicates unconscious knowledge. But unconscious structural knowledge can also be associated with feelings of intuition or familiarity. In this thesis, we explored whether phenomenological feelings, like familiarity, associated with unconscious structural knowledge could be used, paradoxically, to exert conscious control over the use of the knowledge, and whether people could obtain repetition structure knowledge. We also investigated the neural correlates of awareness of knowing, as measured phenomenologically. In study one, subjects were trained on two grammars and then asked to endorse strings from only one of the grammars. Subjects also rated how familiar each string they felt and reported whether or not they used familiarity to make their grammaticality judgment. We found subjects could endorse the strings of just one grammar and ignore the strings from the other. Importantly, when subjects said they were using familiarity, the rated familiarity for test strings consistent with their chosen grammar was greater than that for strings from the other grammar. Familiarity, subjectively defined, is sensitive to intentions and can play a key role in strategic control. In study two, we manipulated the structural characteristic of stings and explored whether participants could learn repetition structures in the grammatical strings. We measured phenomenology again and also ERPs. Deviant letters of ungrammatical strings violating the repetition structure elicited the N2 component; we took this to be an indication of knowledge, whether conscious or not. Strings which were attributed to conscious categories (rules and recollection) rather than phenomenology associated with unconscious structural knowledge (guessing, intuition and familiarity) elicited the P300 component. Different waveforms provided evidence for the neural correlates of different phenomenologies associated with knowledge of an artificial grammar.

Multiple-User Quantum Optical Communication

A fundamental understanding of the information carrying capacity of optical channels requires the signal and physical channel to be modeled quantum mechanically. This thesis considers the problems of distributing multi-party quantum entanglement to distant users in a quantum communication system and determining the ability of quantum optical channels to reliably transmit information. A recent proposal for a quantum communication architecture that realizes long-distance, high-fidelity qubit teleportation is reviewed. Previous work on this communication architecture is extended in two primary ways. First, models are developed for assessing the effects of amplitude, phase, and frequency errors in the entanglement source of polarization-entangled photons, as well as fiber loss and imperfect polarization restoration, on the throughput and fidelity of the system. Second, an error model is derived for an extension of this communication architecture that allows for the production and storage of three-party entangled Greenberger-Horne-Zeilinger states. A performance analysis of the quantum communication architecture in qubit teleportation and quantum secret sharing communication protocols is presented. Recent work on determining the channel capacity of optical channels is extended in several ways. Classical capacity is derived for a class of Gaussian Bosonic channels representing the quantum version of classical colored Gaussian-noise channels. The proof is strongly mo- tivated by the standard technique of whitening Gaussian noise used in classical information theory. Minimum output entropy problems related to these channel capacity derivations are also studied. These single-user Bosonic capacity results are extended to a multi-user scenario by deriving capacity regions for single-mode and wideband coherent-state multiple access channels. An even larger capacity region is obtained when the transmitters use non- classical Gaussian states, and an outer bound on the ultimate capacity region is presented

Colliding and Moving Bose-Einstein Condensates: Studies of superfluidity and optical tweezers for condensate transport

In this thesis, two different sets of experiments are described. The first is an exploration of the microscopic superfluidity of dilute gaseous Bose- Einstein condensates. The second set of experiments were performed using transported condensates in a new BEC apparatus. Superfluidity was probed by moving impurities through a trapped condensate. The impurities were created using an optical Raman transition, which transferred a small fraction of the atoms into an untrapped hyperfine state. A dramatic reduction in the collisions between the moving impurities and the condensate was observed when the velocity of the impurities was close to the speed of sound of the condensate. This reduction was attributed to the superfluid properties of a BEC. In addition, we observed an increase in the collisional density as the number of impurity atoms increased. This enhancement is an indication of bosonic stimulation by the occupied final states. This stimulation was observed both at small and large velocities relative to the speed of sound. A theoretical calculation of the effect of finite temperature indicated that collision rate should be enhanced at small velocities due to thermal excitations. However, in the current experiments we were insensitive to this effect. Finally, the factor of two between the collisional rate between indistinguishable and distinguishable atoms was confirmed. A new BEC apparatus that can transport condensates using optical tweezers was constructed. Condensates containing 10-15 million sodium atoms were produced in 20 s using conventional BEC production techniques. These condensates were then transferred into an optical trap that was translated from the ‘production chamber’ into a separate vacuum chamber: the ‘science chamber’. Typically, we transferred 2-3 million condensed atoms in less than 2 s. This transport technique avoids optical and mechanical constrainsts of conventional condensate experiments and allows for the possibility of novel experiments. In the first experiments using transported BEC, we loaded condensed atoms from the optical tweezers into both macroscopic and miniaturized magnetic traps. Using microfabricated wires on a silicon chip, we observed excitation-less propagation of a BEC in a magnetic waveguide. The condensates fragmented when brought very close to the wire surface indicating that imperfections in the fabrication process might limit future experiments. Finally, we generated a continuous BEC source by periodically replenishing a condensate held in an optical reservoir trap using fresh condensates delivered using optical tweezers. More than a million condensed atoms were always present in the continuous source, raising the possibility of realizing a truly continuous atom lase.

An Algorithm for Parsing Flow Graphs

This report describes research about flow graphs - labeled, directed, acyclic graphs which abstract representations used in a variety of Artificial Intelligence applications. Flow graphs may be derived from flow grammars much as strings may be derived from string grammars; this derivation process forms a useful model for the stepwise refinement processes used in programming and other engineering domains. The central result of this report is a parsing algorithm for flow graphs. Given a flow grammar and a flow graph, the algorithm determines whether the grammar generates the graph and, if so, finds all possible derivations for it. The author has implemented the algorithm in LISP. The intent of this report is to make flow-graph parsing available as an analytic tool for researchers in Artificial Intelligence. The report explores the intuitions behind the parsing algorithm, contains numerous, extensive examples of its behavior, and provides some guidance for those who wish to customize the algorithm to their own uses.

Exploitation of linguistic ambiguity in Polish and English jokes

English & Polish jokes based on linguistic ambiguity are constrasted. Linguistic ambiguity results from a multiplicity of semantic interpretations motivated by structural pattern. The meanings can be "translated" either by variations of the corresponding minimal strings or by specifying the type & extent of modification needed between the two interpretations. C. F. Hockett's (1972) translatability notion that a joke is linguistic if it cannot readily be translated into other languages without losing its humor is used to interpret some cross-linguistic jokes. It is claimed that additional intralinguistic criteria are needed to classify jokes. By using a syntactic representation, the humor can be explained & compared cross-linguistically. Since the mapping of semantic values onto lexical units is highly language specific, translatability is much less frequent with lexical ambiguity. Similarly, phonological jokes are not usually translatable. Pragmatic ambiguity can be translated on the basis of H. P. Grice's (1975) cooperative principle of conversation that calls for discourse interpretations. If the distinction between linguistic & nonlinguistic jokes is based on translatability, pragmatic jokes must be excluded from the classification. Because of their universality, pragmatic jokes should be included into the linguistic classification by going beyond the translatability criteria & using intralinguistic features to describe them.

Characterizing Reference Locality in the WWW

As the World Wide Web (Web) is increasingly adopted as the infrastructure for large-scale distributed information systems, issues of performance modeling become ever more critical. In particular, locality of reference is an important property in the performance modeling of distributed information systems. In the case of the Web, understanding the nature of reference locality will help improve the design of middleware, such as caching, prefetching, and document dissemination systems. For example, good measurements of reference locality would allow us to generate synthetic reference streams with accurate performance characteristics, would allow us to compare empirically measured streams to explain differences, and would allow us to predict expected performance for system design and capacity planning. In this paper we propose models for both temporal and spatial locality of reference in streams of requests arriving at Web servers. We show that simple models based only on document popularity (likelihood of reference) are insufficient for capturing either temporal or spatial locality. Instead, we rely on an equivalent, but numerical, representation of a reference stream: a stack distance trace. We show that temporal locality can be characterized by the marginal distribution of the stack distance trace, and we propose models for typical distributions and compare their cache performance to our traces. We also show that spatial locality in a reference stream can be characterized using the notion of self-similarity. Self-similarity describes long-range correlations in the dataset, which is a property that previous researchers have found hard to incorporate into synthetic reference strings. We show that stack distance strings appear to be strongly self-similar, and we provide measurements of the degree of self-similarity in our traces. Finally, we discuss methods for generating synthetic Web traces that exhibit the properties of temporal and spatial locality that we measured in our data.

Monopoles for gravitation and for higher spin fields

We consider massless higher spin gauge theories with both electric and magnetic sources, with a special emphasis on the spin two case. We write the equations of motion at the linear level (with conserved external sources) and introduce Dirac strings so as to derive the equations from a variational principle. We then derive a quantization condition that generalizes the familiar Dirac quantization condition, and which involves the conserved charges associated with the asymptotic symmetries for higher spins. Next we discuss briefly how the result extends to the nonlinear theory. This is done in the context of gravitation, where the Taub-NUT solution provides the exact solution of the field equations with both types of sources. We rederive, in analogy with electromagnetism, the quantization condition from the quantization of the angular momentum. We also observe that the Taub-NUT metric is asymptotically flat at spatial infinity in the sense of Regge and Teitelboim (including their parity conditions). It follows, in particular, that one can consistently consider in the variational principle configurations with different electric and magnetic masses. © 2006 The American Physical Society.

A note on spin-s duality

Duality is investigated for higher spin (s ≥ 2), free, massless, bosonic gauge fields. We show how the dual formulations can be derived from a common "parent", first-order action. This goes beyond most of the previous treatments where higher-spin duality was investigated at the level of the equations of motion only. In D = 4 spacetime dimensions, the dual theories turn out to be described by the same Pauli-Fierz (s = 2) or Fronsdal (s ≥ 3) action (as it is the case for spin 1). In the particular s = 2 D = 5 case, the Pauli-Fierz action and the Curtright action are shown to be related through duality. A crucial ingredient of the analysis is given by the first-order, gauge-like, reformulation of higher spin theories due to Vasiliev. © SISSA/ISAS 2003.

Solo and Chamber Music of Pulitzer Prize-Winning Composers

The Pulitzer Prize in Music, established in 1943, is one of America's most prestigious awards. It has been awarded to fifty-three composers for a "distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year." Composers who have won the Pulitzer Prize are considered to be at the pinnacle of their creativity and have provided the musical world with classical music compositions worthy of future notice. By tracing the history of Pulitzer Prize-winning composers and their compositions, researchers and musicians enhance their understanding of the historical evolution of American music, and its impact on American culture. Although the clarinet music of some of these composers is rarely performed today, their names will be forever linked to the Pulitzer, and because of that, their compositions will enjoy a certain sense of immortality. Of the fifty-four composers who have won the award, forty-seven have written for the clarinet in a solo or chamber music setting (five or less instruments). Just as each Pulitzer Prize-winning composition is a snapshot of the state of American music at that time, these works trace the history of American clarinet musical development, and therefore, they are valuable additions to the clarinet repertoire and worthy of performance. This dissertation project consists of two recitals featuring the solo and chamber clarinet music of sixteen Pulitzer Prize-winning composers, extended program notes containing information on each composer's life, their music, the Pulitzer Prize-winning composition and the recital selection, and a complete list of all Pulitzer Prize-winning composers and their solo and chamber clarinet music. Featured Composers Dominick Argento, To Be Sung Upon the Water Leslie Bassett, Soliloquies William Bolcom, Little Suite of Four Dances Aaron Copland, As it Fell Upon a Day John Corigliano, Soliloquy Norman Dello Joio, Concertante Morton Gould, Benny's Gig Charles Ives, Largo Douglas Moore, Quintet for Clarinet and Strings George Perle, Three Sonatas Quincy Porter, Quintet for Clarinet and Strings Mel Powell, Clarinade Shulamit Ran, Private Game Joseph Schwantner, Entropy Leo Sowerby, Sonata Ernst Toch, Adagio elegiaco

Doubt, for narrator and orchestra

Doubt is a single-movement composition of roughly twelve minutes for narrator and orchestra (woodwinds, horns, and trumpets in pairs, timpani, percussion, strings). The piece explores the controversial issue of capital punishment. The text was compiled from resources found on the websites of Death Penalty Information Center (http://www.deathpenaltyinfo.org) and Anti-Death Penalty Information (http://www.antideathpenalty.org), as well as excerpts from the Bible. Doubt was conceived of as a dramatic work in which a narrator recites factual information in a direct and unemotional manner and the orchestra provides a response to the mixed emotions elicited by the text. The list of dates and case summaries presented in the middle section of the piece seemed most powerful and effective when recited in a natural speaking voice, which is why I chose not to set the text as song. Also, I chose the orchestral medium rather than a chamber setting because the nature of the topic demanded a larger range of colors and combinations, as well as a louder, fuller sound. Much of the music was composed while deciding which texts to include. Thus the music influenced the choice of text as much as the text suggested the musical setting. The four formal divisions of the piece are delineated primarily by the text. The first section is an orchestral introduction representing various emotional perspectives suggested by the texts. The narrator begins the second section with a Biblical verse over sparse orchestration. The third and main section of the piece begins with a new melody in the low strings that is closely related to the harmonic organization of the piece. The narrator lists dates of convictions, executions, exonerations and facts related to doubtful cases. The third section and the narration conclude with another brief passage from the Bible. The fourth section is a dramatic orchestral coda, bringing back the opening harmonies of juxtaposed perfect fifths. The final chord is full of tension and discord, reflecting the oppositions inherent in the topic of capital punishment: life vs. death, sympathy vs. reproach, pain vs. hope, but above all, doubt about guilt vs. innocence.

Lament for String Quartet

This piece explores the changing nature of emotion focusing especially on the feeling of sorrow. The opening and ending parts of the first movement represent the overall motive of sorrow. The first movement opens with an augmented chord G-C#-F-B and from this chord the first violin expands upwards while the cello moves downwards towards the C chord (p.2). As the melody alternates between each part, there is a subtle change in harmony which creates tension and release and changes the sound color. In addition, ornamentation in each part reinforces the movement towards the C chord. This progression represents the inner emotion of lament. Sostenuto e largamente section (p.2) uses heterophony in order to express a feeling of chaos. Section Scherzando (p.4) uses the interval relationship M7 and m2, and is a respite from the overwhelming feeling of sorrow. The ending of the first movement (p.12) returns to create a second tension by every instrument ascending slowly, and the viola produces a distinctive melody derived from the previous chaotic section that ends on an Ab. The second movement contrasts with the first movement in order to express a concealed, not explicit, sorrow, and differs in both tempo and texture. The tempo is a waltz that is faster than the first movement. This produces a light, playful figure and a simple melody without much ornamentation. Imitation and canonic structure emphasize the individuality of the strings. The third movement merges material from the first movement rhythmic figure and the second movement pizzicato (p.17). It shows timbral change through con sordino, pizzicato arpeggio, and sul ponticello to display string techniques. An Allegro section (p.19) especially contrasts with Misterioso in rhythm and dynamics. In the Grazioso (p.22), random beats are accentuated by pizzicato arpeggio to de-emphasize the meter. Finally, there is a return to the ending figure of the first movement with con sordino (p.23) and sul ponticello in viola that articulates the internal tension and the timbral change to return to a voice of sorrow.

Waveguide QED: Many-body bound-state effects in coherent and Fock-state scattering from a two-level system

Strong coupling between a two-level system (TLS) and bosonic modes produces dramatic quantum optics effects. We consider a one-dimensional continuum of bosons coupled to a single localized TLS, a system which may be realized in a variety of plasmonic, photonic, or electronic contexts. We present the exact many-body scattering eigenstate obtained by imposing open boundary conditions. Multiphoton bound states appear in the scattering of two or more photons due to the coupling between the photons and the TLS. Such bound states are shown to have a large effect on scattering of both Fock- and coherent-state wave packets, especially in the intermediate coupling-strength regime. We compare the statistics of the transmitted light with a coherent state having the same mean photon number: as the interaction strength increases, the one-photon probability is suppressed rapidly, and the two- and three-photon probabilities are greatly enhanced due to the many-body bound states. This results in non-Poissonian light. © 2010 The American Physical Society.

The Oud Across Arabic Culture

This study is a compilation and compendium of information on the oud, the most important instrument in Arabic classical music. It has grown out of my own long-time involvement in studying and playing the oud, and in particular out of my interest in the lack of sources and knowledge available to the vast majority of oud players and researchers, as well as for the readers. My own path started from an intensive study of the oud, which included exposure to several treaties; some housed in museums around the globe, and some only available in the Arabic language. The study combines archival research (including Arabic poetry and pre-Islamic Era and medieval treaties), symbolism, new archaeological discoveries, field interviews, and analysis of existing scholarship, and draws on my professional performance experience for detailed stylistic analysis of the oud's performance practice and its historical development. The study consists of participant observation, personal performance, and interviews conducted in person, via telephone, and/or via e-mail, according to the choice of the performers. The performers have been selected from networks of musicians who perform regularly at lounges, concert halls, and private events. These performers have been chosen according to their musical knowledge, technical skill, experience, and activity in Arabic music and oud performance. Chapter one deals with the purpose of this study and the methods of investigation, as well as giving a brief overview of the history of the oud. In addition, there will be an introduction to the Arabic musical system (mâqâm), which is primarily based on the mechanics and sound production of the oud. Chapter two deals with the oud in Arabic sources: the first source is Arabic poetry in the pre-Islamic Era. The second source is Arabic poetry in the medieval era, in which I found a significant number of poets who allude to the oud, providing accurate descriptions of the player, singers, and the scenes within the contexts of oud performance. The third source is the Arab scholars' intensive treatises with meticulous accounts of the instrument's apparatii, including descriptions and measurements of the parts, strings, and tuning. While chapter three deals with the classification, the development of the oud, chapter four deals with topics such as: the symbolism of the oud and its relation to cosmology, astronomy, mathematics and anatomy. In most of the pertinent Arabic writings, philosophers mention a significant correlation between the oud and the other sciences. Chapter five deals with recreating the performance practice of the oud. A case study of the oud performers focuses on their style, technique, training, and personal experiences. Topics such as improvisation and ornamentation, the oud in the Arabic musical ensemble, the social uses and functions, and gender in musical performance practices will be included in detailed analysis. Other important topics will be analyzed such as traditional vs. modern technique, and the repertoire of the oud. Specifically, in regard to technique, the study outline the style of the music, the role of the oud in Arabic ensembles, the function of the oud in music composition, and the form of the ensembles in Arabic performance and practice.

PIANIST-COMPOSERS WHOSE WORKS INCLUDE PIANISTIC INNOVATIONS

Throughout the piano’s history, certain composers have created innovations in the areas of virtuosity and sonority. These innovations came not only from the composers’ imagination, but also from the development of instruments and changes in musical style from one period to another. To investigate what kinds of innovations these pianist composers made, I divided them into technique and sound from Mozart to Cowell. I chose two-piano music (Sonata in D major, K.448 by Mozart and Rachmaninoff’s Second Suite) to demonstrate their experiments with varieties of textures and sonorities, using different registers of the two pianos orchestrally. En Blanc et noir by Debussy shows this composer’s deep interest and originality in piano sonorities. For solo piano music, Beethoven’s Piano Sonata Op.53 shows extensive technical invention. His use of long pedal effects shows a pianistic possibility not explored by Mozart. Hummel’s Piano Sonata in D major represents orchestral devices as well as pianistic techniques showing recent developments in the instrument. Chopin’s Ballade No.3 and Scherzo No.3 show virtuosic moments and also the expanded range of the keyboard. His Nocturne Op.27, no.2, with its sonorities resulting from the combination of pedal, and widespread accompaniments derived from Alberti bass figures, is a perfect example of Chopin’s characteristic sound-world. “Vallée d’Obermann” by Liszt uses many virtuosic techniques as well as the extreme wide ranges of keyboard in both hands to create dramatic contrasts of texture. Debussy’s etude, “Pour les Sonorités opposés” is probably the first etude designed for sonority rather than for keyboard virtuosity. Albeniz’s “Evocación” and “Triana” show Spanish atmosphere. Prokofiev’s Sonata no.3 shows frequent motoric driving elements that demand percussive virtuosity. Cowell’s piano music is some of the earliest to explore the sonorities of tone clusters and playing on the strings. This performance dissertation consists of three recitals performed in the Orchestra Room, Leah Smith Hall, and Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.