SELECTED REPERTOIRE OF THE GILLET COMPETITION FROM 1996 TO 2006

There are many bassoon competitions around the world- and one of the most famous is the Gillet competition, sponsored by the International Double Reed Society. In 1981, it was established as an annual event, the "Femand Gillet Bassoon Competition"- a title expanded in 2000 to the "Femand Gillet-Hugo Fox Bassoon Competition." My goal was to explore the history of the competition, the availability of the repertoire selected for each competition, and the difficulties performing each piece. Through this journey, I was able to discover the variety of material chosen and how it was used, the quality, value, and the importance of the repertoire in each competition. For example, Ferdinand David's Concertino op.12, the style of the piece provides romantic, operatic type lyricism, a flashy presto section and finale, makes it as a standard romantic piece in the bassoon repertoire; Otmar Nussio's Variations on an Air by Pergolesi, contains a slow theme and few diverse variations, which provides a contemporary style music with the traditional music form and descriptive quality. The result of learning this repertoire proves that different styles of music in the competition demonstrate the artistry of the bassoon repertoire and music history in relationship of the development of the instrument. My first dissertation recital featured: Concerto for Bassoon, K. 191 by Wolfgang Amadeus Mozart; Concertino by Marcel Bitsch; Metamorphoses by Leslie Bassett; and Sonatine by Alexandre Tansman. My second recital featured: Concerto in E minor, RV 484 by Antonio Vivaldi; On the Summer Map of Stars by Gordon Kerry; Concertino Opus12 by Ferdinand David; Elegie by Jacques Hetu; and Interferences by Roger Boutry. My third recital featured: Cello Suite No.2 in D minor, BWV1008 by Johann Sebastian Bach; Combinaciones: Sonatina para Fagot y Piano by Salvador Ranieri; Andante e Rondo Ungarese Opus 35 by Carl Maria von Weber; and Variations on an Air by Pergolesi for Bassoon and Piano by Otmar Nussio.

THE PIANO FANTASY FROM BACH TO DANIELPOUR

The Fantasy, as the term suggests, is a genre that composers have found congenial for exploring innovative and imaginative processes. Works in this genre are numerous in the solo piano literature, and extend even to works for piano and orchestra and to chamber music with piano. I was curious to explore how a specific genre of music maintained similar characteristics but evolved over time. A fantasy is primed to be inventive and I wanted to see how composers from different eras and backgrounds would handle their material in this genre. I have learned that composers worked through formal developments while making innovations within this genre. The heart of my dissertation is presented through the recording project. Because ofthe abundance ofpiano fantasies, many works had to be excluded from this project for time's sake. On two compact discs, I have recorded approximately two hours of solo piano music. I have included some shorter fantasies to magnify significant developments from era to era, country to country, and composer to composer. The first disc has recordings of eighteenth and nineteenth-century fantasies: Chromatic Fantasy and Fugue, BWV 903 by J.S. Bach (1685-1750); Fantasia inC major, H. XVII, 4 by Franz Joseph Haydn (1732-1809); Fantasy inc minor, K. 475 by Wolfgang Amadeus Mozart (1756- 1791); Fantasia inf-sharp minor, Op. 28 by Felix Mendelssohn (1809-1847); and Polonaise-Fantaisie in A-flat major, Op. 61 by Frederic Chopin (1810-1849). On the second disc I have included mid-19th, 20th and 2151-century piano fantasies: Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt (1811-1886); Fantasia Baetica by Manuel de Falla (1876-1946); Three Fantasies by William Bergsma (1921-1994); Fantasy, Aria and Fugue by Frederic Goossen (1927-2011); and Piano Fantasy ("Wenn ich einmal sol! scheiden") by Richard Danielpour (b. 1956). The accompanying document includes program notes for each of the pieces recorded. They were recorded on a Steinway "D" in Dekelboum Concert Hall at the University of Maryland by Antonino D'Urzo ofOpusrite Productions. This document is available in the Digital Repository at the University of Maryland and the CO's are available through the Library System at the University of Maryland.

The Voyage of Impressionism in Three Violin Recitals: To See the World in Different Colors

Impressionism serves as the transition between romantic and modern music. This dissertation examines the varying characteristics and colors of Impressionism in the works of late-romantic French composers, French Impressionistic composers, and composers with Impressionistic influence from countries other than France. Violin Sonata in g minor, L. 140 (1917) is the last work composed by Claude Debussy. The impressionistic characters in this work includes the ambiguous yet innovative and variant sonority and form. As a work also written in 1917, Ottorino Respighi's Violin Sonata in b minor is deeply rooted in Italian Romanticism. Some of the Impressionistic characters can be found in the second movement where the harmonies are in parallel motion. César Franck, a forerunner of impressionism, heavily influenced Debussy with the use of cyclic form. The Violin Sonata in A major (1886) is rich in harmonic language. Ernest Chausson's works mark the transition between Franck and Debussy. The Poème portrays a love story, Song of Love Triumphant by Turgenev. The work is a symphonic poem for violin and orchestra. The Mythes, Op. 30 (1915) by Karol Szymanowski is based on Greek mythology. Ravel's Sonata for Violin and Cello (1922), dedicated to Debussy, points to the future with a sophisticated harmonic language extending into atonality, spare texture, and expanded palate of impressionistic colors and techniques. Ernest Bloch's Violin Sonata No. 1 (1920) portrays the feeling of torment. Beneath the soaring cries of the violin, the harmonic sonority of Impressionism are present. Gabriel Fauré's Violin Sonata No. 1 in A major, op. 13 (1876) is the earliest work of this project. The scherzo movement became a prototype for future scherzo movements for Ravel and Debussy. Ravel's Tzigane (1924), at once a paragon of French impressionism, a delightful gypsy-style dance-fantasy, and a breathtaking virtuoso piece, is the perfect conclusion to my dissertation project. The pieces discussed above were presented in three recitals. Compact disc recordings of these recitals are available in the Michelle Smith Performing Arts Library of the Clarice Smith Performing Arts Center at the University of Maryland.

Residential segregation in Northern Ireland in 2001: assessing the value of exploring spatial variations

Segregation measures have been applied in the study of many societies, and traditionally such measures have been used to assess the degree of division between social and cultural groups across urban areas, wider regions, or perhaps national areas. The degree of segregation can vary substantially from place to place even within very small areas. In this paper the substantive concern is with religious/political segregation in Northern Ireland—particularly the proportion of Protestants (often taken as an indicator of those who wish to retain the union with Britain) to Catholics (often taken as an indicator of those who favour union with the Republic of Ireland). Traditionally, segregation is measured globally—that is, across all units in a given area. A recent trend in spatial data analysis generally, and in segregation analysis specifically, is to assess local features of spatial datasets. The rationale behind such approaches is that global methods may obscure important spatial variations in the property of interest, and thus prevent full use of the data. In this paper the utility of local measures of residential segregation is assessed with reference to the religious/political composition of Northern Ireland. The paper demonstrates marked spatial variations in the degree and nature of residential segregation across Northern Ireland. It is argued that local measures provide highly useful information in addition to that provided in maps of the raw variables and in standard global segregation measures.

Interacção entre estruturas intervalares e estruturas espectrais, na música instrumental/vocal

A presente tese apresenta-se num formato bipartido, sendo a primeira parte uma investigação teórica e a segunda parte um conjunto de composições originais que procuram estabelecer, directa e indirectamente, uma relação com a temática investigada. A investigação incide sobre as diferentes relações que se podem estabelecer entre estruturas intervalares e estruturas espectrais, a partir de um conjunto representativo de obras de diferentes compositores. As obras originais da segunda parte configuram um objecto final de análise e reflexão. As composições que integram a segunda parte da tese são: Inês – sete miniaturas sobre A Castro, para soprano e orquestra, sobre excertos de “Castro”, de António Ferreira; Um sino contra o tempo, para flauta, clarinete, percussão e piano; Terra, para orquestra de cordas; Dor e Amor, para voz, flauta, clarinete, percussão, harpa, piano, violino, viola e violoncelo, sobre poemas de Nuno Júdice; e Ode a Gaia, para soprano solo, coro misto e electrónica, a partir de textos de diversos autores e épocas, desde Homero a Fernando Pessoa. Esta investigação surge a partir da convicção de que é possível e enriquecedor para a composição a coexistência e o estabelecimento de uma relação entre estruturas que valorizam as qualidades dos intervalos que as constituem e estruturas de tipo espectral. Se o pensamento intervalar pode ser relacionado com princípios de estruturação ligados a toda uma tradição musical, desde a música modal, à tonal e à atonal, o pensamento espectral relaciona-se com o estudo do fenómeno sonoro e do timbre e é integrado mais tardiamente no séc. XX como um possível modelo estruturante na composição. A investigação sobre as obras seleccionadas, sobretudo de compositores que colocam o fenómeno da percepção num plano central, procura diferentes interacções entre os dois tipos de estrutura, interrogando-se sobre em que medida é que essa interacção influencia ou é mesmo determinante para o resultado musical final. São analisadas diferentes aplicações, tais como: a procura de qualidades acústicas na criação de estruturas intervalares, a criação de timbres particulares para linhas estruturantes, a manipulação tímbrica de estruturas verticais, a inter-relação de camadas intervalares e espectrais na textura musical de forma sincrónica e diacrónica, e o surgimento de material intervalar a partir de estruturas espectrais. Os principais resultados passam pela confirmação de que o pensamento intervalar é compatível com o pensamento espectral e vice-versa, podendo-se concluir que são essenciais diferentes funções para os dois tipos de estrutura na textura musical e que quer as estruturas intervalares quer as espectrais se relacionam com diferentes aspectos da percepção, tendo, assim, uma influência determinante no resultado musical final, na eficácia da escuta e na sua fruição.

Obras para voz e piano de Frederico de Freitas: a vocalidade entre fado e canção

Durante a sua vida Frederico de Freitas abordou praticamente todos os géneros musicais, demonstrando uma imensa e notória versatilidade tanto na música erudita como na não erudita. O repertório para canto e piano representa uma parte substancial da sua obra vocal e, apesar de menos divulgado, não pode deixar de se considerar de grande importância. É precisamente neste género que mais se evidencia a versatilidade do seu estilo composicional. Este repertório abrange, assim, os géneros erudito e ligeiro, ou popular, pelo que as suas canções refletem a facilidade com que se movia de um meio para outro. Enquanto investigador, os estudos que realizou sobre música medieval portuguesa, o número elevadíssimo de recolhas de melodias tradicionais portuguesas que fez ao longo da vida e as investigações que realizou sobre o fado deram origem, paralelamente à composição de canções eruditas, a harmonizações de melodias medievais, a arranjos de temas na música tradicional e à composição de fados. Do ponto de vista interpretativo, a diversidade de estilos presentes nas canções de Frederico de Freitas exige do cantor lírico uma versatilidade e capacidade de se adaptar, ainda que mantendo a matiz da sua formação erudita, ao estilo próprio de cada canção. Com vista a uma interpretação estilística e vocalmente adequada, e por representarem um universo tão diferenciado, esta tese de doutoramento centra a sua atenção na problemática da vocalidade das suas canções.

Evolutionary switch and genetic convergence on rbcL following the evolution of C4 photosynthesis.

Rubisco is responsible for the fixation of CO2 into organic compounds through photosynthesis and thus has a great agronomic importance. It is well established that this enzyme suffers from a slow catalysis, and its low specificity results into photorespiration, which is considered as an energy waste for the plant. However, natural variations exist, and some Rubisco lineages, such as in C4 plants, exhibit higher catalytic efficiencies coupled to lower specificities. These C4 kinetics could have evolved as an adaptation to the higher CO2 concentration present in C4 photosynthetic cells. In this study, using phylogenetic analyses on a large data set of C3 and C4 monocots, we showed that the rbcL gene, which encodes the large subunit of Rubisco, evolved under positive selection in independent C4 lineages. This confirms that selective pressures on Rubisco have been switched in C4 plants by the high CO2 environment prevailing in their photosynthetic cells. Eight rbcL codons evolving under positive selection in C4 clades were involved in parallel changes among the 23 independent monocot C4 lineages included in this study. These amino acids are potentially responsible for the C4 kinetics, and their identification opens new roads for human-directed Rubisco engineering. The introgression of C4-like high-efficiency Rubisco would strongly enhance C3 crop yields in the future CO2-enriched atmosphere.

Factors affecting performance proficiency : a case study involving intermediate piano students

The goal of this study was to determine the effect of a number of factors on the performance proficiency of three intermediate piano students having different learning styles, all of whom shared the same teacher. Four sets of data were collected in this investigation: the methodology of the teacher; the practice behaviour of the participants; the effect of intrinsic factors, such as participant attitude, motivation, and ownership of learning; and the effect of extrinsic factors that included parental influence, and participants' school- and employment-related responsibilities. Performance proficiency and assessment of practice behaviour were measured by three external, professionallyqualified music examiners. Performance proficiency varied to some extent between participants, but they shared similar practice behaviours. Learning style does not, therefore, affect practice behaviour. Although they planned their practice time, participants did not show much evidence of monitoring the quality of their practice. On the other hand, participants showed positive attitude; they were motivated to learn; and they were observed to plan their practice time, all indicators of, among other things, positive influence of the teacher and parents. Participants showed evidence that these constructive habits were a denominator common to both their schoolwork and piano practice. It was apparent that, except for learning style, all factors examined had an effect on performance proficiency. Performance proficiency is, therefore, influenced by a large web of factors, a finding that is instructive for classroom teachers. Teachers need to avoid the temptation to teach toward performance expectations. Emphasis should be placed instead on teaching and assessing formative learning strategies.

De l'ethnicité dans les langages musicaux contemporains : au-delà de l'exotisme : processus de composition de quatre oeuvres : Deux tempêtes et une langueur, Sept gestes ludiques, Azabache, Landocinogena

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal.

Stereo-Based Head Pose Tracking Using Iterative Closest Point and Normal Flow Constraint

In this text, we present two stereo-based head tracking techniques along with a fast 3D model acquisition system. The first tracking technique is a robust implementation of stereo-based head tracking designed for interactive environments with uncontrolled lighting. We integrate fast face detection and drift reduction algorithms with a gradient-based stereo rigid motion tracking technique. Our system can automatically segment and track a user's head under large rotation and illumination variations. Precision and usability of this approach are compared with previous tracking methods for cursor control and target selection in both desktop and interactive room environments. The second tracking technique is designed to improve the robustness of head pose tracking for fast movements. Our iterative hybrid tracker combines constraints from the ICP (Iterative Closest Point) algorithm and normal flow constraint. This new technique is more precise for small movements and noisy depth than ICP alone, and more robust for large movements than the normal flow constraint alone. We present experiments which test the accuracy of our approach on sequences of real and synthetic stereo images. The 3D model acquisition system we present quickly aligns intensity and depth images, and reconstructs a textured 3D mesh. 3D views are registered with shape alignment based on our iterative hybrid tracker. We reconstruct the 3D model using a new Cubic Ray Projection merging algorithm which takes advantage of a novel data structure: the linked voxel space. We present experiments to test the accuracy of our approach on 3D face modelling using real-time stereo images.

Virginia Apgar and string music

Virginia Apgar (1909-1974) is one of the most recognized American doctors, worldwide known by his contribution as the developer of the "Apgar test" a method used for the evaluation of newborns all over the world. She had many interests. She was anesthesiologist, a brilliant teacher and researcher, but she also loved lecture, basketball, fishing, golf, philately, and music. She played violin and cello and she interpreted that instruments in various chamber groups. Being motivated by one of her patients, Carleen Hutchinson, a science and music teacher, she made four instruments, viola, violin, cello, and mezzo violin. Nearly twenty years of her death, on October 24 1994, on the occasion of the annual meeting of the American Academy of Pediatrics and the issue by American Postal Service of a stamp honoring her, some of the preferred Dr. Apgar music pieces where performed with the instruments she made. Her life mixed different activities and let invaluable contributions for humanity.

Effect of manure application on crop yield and soil chemical properties in a long-term field trial of semi-arid Kenya

The sustainability of cereal/legume intercropping was assessed by monitoring trends in grain yield, soil organic C (SOC) and soil extractable P (Olsen method) measured over 13 years at a long-term field trial on a P-deficient soil in semi-arid Kenya. Goat manure was applied annually for 13 years at 0, 5 and 10 t ha(-1) and trends in grain yield were not identifiable because of season-to-season variations. SOC and Olsen P increased for the first seven years of manure application and then remained constant. The residual effect of manure applied for four years only lasted another seven to eight years when assessed by yield, SOC and Olsen P. Mineral fertilizers provided the same annual rates of N and P as in 5 t ha(-1) manure and initially ,gave the same yield as manure, declining after nine years to about 80%. Therefore, manure applications could be made intermittently and nutrient requirements topped-up with fertilizers. Grain yields for sorghum with continuous manure were described well by correlations with rainfall and manure input only, if data were excluded for seasons with over 500 mm rainfall. A comprehensive simulation model should correctly describe crop losses caused by excess water.

Sexually Dimorphic Effect of the Val66Met Polymorphism of BDNF on Susceptibility to Alzheimer`s Disease: New Data and Meta-Analysis

Conflicting results have been reported as to whether genetic variations (Val66Met and C270T) of the brain-derived neurotrophic factor gene (RDNF) confer susceptibility to Alzheimer`s disease (AD). We genotyped these polymorphisms in a Japanese sample of 657 patients with AD and 525 controls, and obtained weak evidence of association for Val66Met (P = 0.063), but not for C270T. After stratification by sex, we found a significant allelic association between Val66Met and AD in women (P = 0.017), but not in men. To confirm these observations, we collected genotyping data for each sex from 16 research centers worldwide (4,711 patients and 4,537 controls in total). The meta-analysis revealed that there was a clear sex difference in the allelic association; the Met66 allele confers susceptibility to AD in women (odds ratio = 1.14, 95% CI 1.05-1.24, P = 0.002), but not in men. Our results provide evidence that the Met66 allele of BDNF has a sexually dimorphic effect on susceptibility to AD. (C) 2009 Wiley-Liss, Inc.

Allelujah (dance version)

Allelujah Dance Version is a dance piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello, piano, harp, drums and bass.

Allelujah (female vocal led dreamy)

Allelujah is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello, piano, harp and 2 synths and bells at the very end.