碎屑锆石年龄和Nd-Hf同位素组成对扬子基底演化的制约

The South China craton was formed by the collision of the Yangtze and Cathaysia blocks during the Neoproterozoic Jiangnan orogeny (also termed as the Jingnin or Sibao orogeny in Chinese literature). Basement rocks within the Yangtze block consist mainly of Proterozoic sediments of the Lengjiaxi and Banxi Groups. U-Pb ages of detrital zircons obtained by the LA-ICP-MS dating technique imply that the deposition of the Lengjiaxi Group continued until the Neoproterozoic. The youngest detrital zircons suggest a maximum deposition age of ~830 Ma for the Lengjiaxi Group, consistent with the initiation time of the deposition of the overlying Banxi Group, likely indicating continuous deposition of these two groups and a short temporal hiatus (~10 Ma) between the Neoproterozoic sedimentary rocks distributed in the South China craton. Detrital zircons from both the Lengjiaxi and Banxi Groups have a wide range of εHf(t) values from -12 to 14.2 and a continuous Nd and Hf model age spectrum from ~820 Ma to 2200 Ma. Some grains have model ages ranging up to ca. 2.9-3.5 Ga, indicating that both juvenile mantle material and ancient crust provided sedimentary detritus. This is also consistent with the Nd isotopic signature of sedimentary rocks recorded in the Lengjiaxi Group, suggesting a back-arc tectonic setting. The Banxi Group has slightly enriched Nd isotopic signatures relative to the Lengjiaxi Group, implying a higher percentage of old continental material in the sedimentary source. Combined with previously published data, new results can help us to reconstruct the Neoproterozoic tectonic evolution of the South China craton. The age spectrum of detrital zircons and Nd-Hf isotopic composition suggests a two-stage collision: Between 1000 Ma to 870 Ma, a continental magmatic arc was build up along the eastern margin of the Yangtze block. Convergence led to continent-based back-arc extension, subsidence and formation of a back-arc basin. Detritus originating from arc-related magmatic and old basement rocks was transported into this back-arc basin resulting in formation of the Lengjiaxi Group and its equivalents. At around 870 Ma, a second (oceanic) arc was formed by extension of an inter-arc basin, subduction subsequently led to the first collision and the emplacement of the blueschist mélange. Accretion of the magmatic arc lasted until the closure of an oceanic basin between the Yangtze and Cathaysia blocks at about 830 Ma. Shortly after the collision, subsequent uplift, further extension of the former back-arc basin and post-collisional granitoid magmatism caused a tilting of the Lengjiaxi sediments. Between 830 Ma and 820 Ma, subsequent closure of the oceanic back-arc basin and formation of the Jiangnan orogen took place, leaving a regional unconformity above the Lengjiaxi Group. Above this unconformity the Banxi Group was immediately deposited during the post-tectonic stage.

阿尔泰南缘侧向增生过程中的VMS矿床：地质、地球化学特征与成矿机制

The Chinese Altai is one of the most important volcanogenic massive sulfide (VMS) deposit districts in China. All orebodies were lenticular or bedded and stratabounded by a suite of early Devonian volcanic-sedimentary rocks. Hydrothermal feeder zones developed under some of the orebodies. All the ores are massive or laminated, and show typical characteristics of VMS deposit. Based on the mineralizing time and the metal assembles, we divide 3 metallogenic stages: 1, Fe orefroming stage associated with basaltic and sedimentary rocks during very early Devonian; 2, Cu-Pb-Zn oreforming stage associated with rhyolitic and sedimentary rocks during early Devonian; 3， Cu-Zn oreforming stage in the dacitic and basaltic rocks during mid. Devonian. The hosting rocks for all orebodies are different, but they show very similar geochemical and isotopic characteristics. All the felsic rocks show enriched lighted rare earth elements (REE) patterns (La/Yb>5), and with an obvious Eu negative anomalies (Eu/Eu*<0.6). In the meanwhile, all the mafic rocks show flat REE pattern and no Eu anomalies. The Ashele basalt show an apparent Ce negative anomalies (Ce/Ce* <0.76), All the volcanic roks in Chinese Altai show the decoupled property between the high field strength elements (HFSE) and large ion lithophile elements (LILE). The negative Nb, Ta characteristics with respect to adjacent elements indicate that subduction-modified source. The Nd(t) of the hosting rocks for all orebodies changed in a small range (-1.5~5), and the (87Sr/86Sr)i change in a big range. The initial Sr value of the hosting rocks in Mengku and Tiemuerte are obviously affected by the seawater (0.705~0.710), and initial Sr values of hosting rocks Ashele change in a small range (0.704~0.706). All Sr-Nd isotopes of ores have the same range with the hosting rocks, indicating that both the ores and volcanic rocks have the same island arc source. The mean sulfur isotopes of sulfides from Ashele and Mengku are 6.2‰ and 3.4‰, respectively, indicating a deep magmatic source. However, the sulfur isotopes of sulfides from Keketale, Tiemuerte and Keyinbulake changed in -15.8‰~9.9‰, -23.5‰~1.87‰, -8.3‰~1.6‰, respectively. And the big sulfur isotope range indicated that the sulfur of the ores was a combination biogenic and magmatic source. All volcanic rocks from the VMS deposits in the southern Chinese Altai show a typical subduction related environments. Based on the regional and locally geological evidence, here we propose that the southern Chinese Altai is an island arc system, and all VMS deposits formed during the lateral accretion process. No VMS deposit formed during the formation of the island arc during Silurian; Fe VMS deposit formed during the beginning of the opening of the backarc basin in very early Devonian; Cu-Pb-Zn VMS deposits formed during the mature stage of the backarc basin in early Devonian; at last the Cu-Zn VMS deposit formed during the rifted stage of the island arc itself.

大别山碰撞造山带逆冲推覆构造运动学和动力学研究

Since the discovery of coesite-bearing eclogites in Dabie and Sulu region over ten years ago, the Dabie collisional orogen has been the "hot-spot" across the world. While many great progresses have been made for the last decade in the researches on the Dabie and Sulu UHP metamorphic rocks in the following fields, such as, petrology, mineralogy, isotope chronology, and geochemistry, the study of the structural geology on the Dabie orogen is still in great need. Thrust and nappe tectonics commonly developed in any collisional orogenic belt during the syncollisional process of the orogen. It is the same as the Dabic collisional orogen is concerned. The paper put much stress on the thrust and nappe tectonics in the Dabic orogenic belt, which have been seldom systematically studied before. The geometric features including the division and the spatial distribution of various thrust and nappe tectonics in the Dabie orogen have been first studied, which is followed by the detailed studies on their kinematic characteristics in different scales varying from regional tectonics to microtectonics. In the thesis, new deformation ages have been obtained by the isotopic methods of ~(40)Ar-~(39)Ar, Sm-Nd and Rb-Sr minerals-whole rock isochrons on the mylonites formed in three ductile shear zones which bounded three different major nappes in the Dabie collisional orogenic belt. And the petrological, geochemical characteristics of some metamorphic rocks as well as the geotectonics of their protoliths, which have also deformed in the ductile shear zone, are analyzed and discussed. In the paper, twelve nappes in the Dabie orogen are first divided, which are bounded by various important NWW or NW-strike faults and three NNE-strike faults. They are Shangcheng Nappe, Huoshan Nappe, Yuexi Nappe, Yingshanjian-Hengzhong Nappe, Huangzhen Nappe, Xishui-Huangmei Nappe, Zhoudang Nappe, Suhe-Huwan Nappe, Xinxian Nappe, Hong'an Nappe, Mulan Nappe and Hhuangpi-Susong Nappe. In the Dabie orogen, three types of thrust and nappe tectonics belonging to two stages have been confirmed. They are: (1) early stage ductile thrust -nappe tectonics which movement direction was top-to-the-south; (2) late stage brittle to ductile-brittle thrust-nappe tectonics which are characterized by double-vergence movement, including top-to-the-north and top-to-the-south; (3) the third type also belongs to the late stage which also characterized by double-vergence movement, including top-to-the-east and top-to-the-west, and related to the strike-slip movement. The deformation ages of both Wuhe-Shuihou ductile shear zone and Taihu-Mamiao ductile shear zone have been dated by ~(40)Ar-~(39)Ar method. ~(40)Ar/~(39)Ar plateau ages of biotite and mica from the mylonites in these two shear zones are 219.57Ma and 229.12Ma. The plateau ages record the time of ductile deformation of the ductile shear zones, which made the concerned minerals of the mylonites exhume from amphibolite facies to the middle-upper crustal conditions by the early stage ductile thrust-nappe tectonics. The mineral isochons of Sm-Nd and Rb-Sr dating on the same mylonite sample of the metamafic rocks are 156.5Ma and 124.56Ma respectively. The two isochron ages suggest that the mylonitic rock strongly deformed in the amphilbolite facies at 156Ma and then exhumed to the upper crustal green schist condition at 124Ma with the activities of the Quiliping-Changlinggang ductile shear zone which bounded to the southen edge of Xinxian Nappe. Studies of the petrological and geochemical characteristics of some meta-mafic rocks and discussion on the geotectonics of their protoliths indicate that their protoliths were developped in an island arc or back-arc basin or active continental margin in which calc-alkline basalts formed. This means that arc-accretion orogeny had evolved in the margins of North china plate and/or Yangtze plate before these two plates directly collided with each other during the evolution process of Dabie orogen. Three-stage evolution of the thrust-nappe tectonics in Dabie collisional orogen has been induced based on the above-mentioned studies and previous work of others. And a possible 3-stage exhumation model (Thrust-Positive Flower Structure Model) has also been proposed.

晚中生代松辽盆地形成的大地构造环境及成因机制

Directed by the theory of "Collision Tectonic Facies", the tectonic setting and dynamic mechanism of the formation of Songliao basin in late Mesozoic (J_3-K_1) are studied in the present thesis with the methods of petrology, petrochemistry, geochemistry and isotopic geochronology. The research contents in this paper include as followings. Firstly, the general tectonic frame is made up of different tectonic facies formed from Mid-late Proterozoic to Mesozoic, which are Huabei plate, the Chengde-Siziwangqi melange (Pz_1), the Wenduermiao magmatic arc (Pz_1), the Hegenshan-Chaogenshan melange (Pz_2), the accretion arec (Pz_1-P), the Raohe-Hulin melange (Mz), the magmatic arc (Mz) and the pull-apart basin on the magmatic arc (Mz). Secondly, the volcanic rock assemblages of Songliao basin and its adjacent area in late Mesozoic is the typical calc-alkaline of the magmatic arc. The types of volcanic rocks in the study area include basalts, basaltic andesites, andesites, dacites and rhyolites, and basic-intermediate volcanic rocks have higher alkalinity. The volcanic rock series in this area is the high-K calc-alkaline series. Thirdly, the total REE of volcanic rocks in Songliao basin and its adjacent area is higher than that of the chondrite. The pattern of the REE normalized by the chondrite shows the characteristics similar to that of the typical island arcs or the active continental margins in the earth, that is enrichment of LREE and depletion of Eu. The spider-diagram of the trace element normalized by the primitive mantle also expresses the similar features to that of the typical island arcs or the active continental margins, it has distinctive valleies of Nb, Ta, Sr, P, and Ti, as well as the peaks of La, Ce, Th, U, and K. The incompatible elements show that the high field strength elements, such as Nb, Ta, Ti, and P, are depletion while the low field strength elements, such as K, U, Pb, and Ba, are enrichment. These features are similar to those of orogenic volcanic rocks and imply the formation of the volcanic rocks in this area is related to the subduction. The degrees of both the enrichment of the HFS elements and depletion of the LFS elements become more obvious from basic to acid volcanic rocks, which suggests crustal contamination enhances with the magmatic crystallization and fractionation. The concentration of the compatible elements is W-shape, and anomalies in Cr and Ni suggest there is the contamination during the magmatic crystallization and fractionation. Fourthly, the isotopic age data prove the volcanic activity in the Songliao basin and its adjacent area started in the early-middle Jurassic, and ended in the end of the early Cretaceous-the beginning of the Cretaceous. The volcanism summit was the late Jurassic-the early Cretaceous (100 - 150Ma). Finally, the tectonic setting of volcanism in the late Mesozoic was magmatic arc, which originated the subduction of Raohe-Hulin trench to the northwest Asian plate. The subduction began in the middle Jurassic, and the collision orogenesis between the Sikhote-Alin arc and Asian continent was completed in the end of the early Cretaceous-the beginning of the late Cretaceous. The results of above tectonic processes were finally to format Nadanhada orogenic belt symbolized by the Raohe-Hulin suture or melange belt. The violently oblique movement of the Izanagi plate toward Asian plate in the late Mesozoic was the dynamic mechanism of above tectonic processes. At the same tome, the left-lateral strike-slip shear caused by the oblique movement of the Izanagi plate produced a series of strike-slip faults in east Asian margin, and the large scale displacements of these strike-slip faults then produced the pull-apart basing or grabens on the magmatic arc. Conclusively, the tectonic setting during the formation of the grabens of Songliao basin in the late Mesozoic was magmatic arc, and its dynamic mechanism was the pull-apart. In a word, there was a good coupling relation among the oblique subduction of the oceanic plate, collisional orogene between island arc and continental plate, strike-slip shear of the faults and the formation of the grabens in Songliao basin and its adjacent area in late Mesozoic. These tectonic processes were completed in the unoin dynamic setting and mechanism as above description.

Effects of High Dissolved Inorganic and Organic Carbon Availability on the Physiology of the Hard Coral Acropora millepora from the Great Barrier Reef

Coral reefs are facing major global and local threats due to climate change-induced increases in dissolved inorganic carbon (DIC) and because of land-derived increases in organic and inorganic nutrients. Recent research revealed that high availability of labile dissolved organic carbon (DOC) negatively affects scleractinian corals. Studies on the interplay of these factors, however, are lacking, but urgently needed to understand coral reef functioning under present and near future conditions. This experimental study investigated the individual and combined effects of ambient and high DIC (pCO2 403 μatm/ pHTotal 8.2 and 996 μatm/pHTotal 7.8) and DOC (added as Glucose 0 and 294 μmol L-1, background DOC concentration of 83 μmol L-1) availability on the physiology (net and gross photosynthesis, respiration, dark and light calcification, and growth) of the scleractinian coral Acropora millepora (Ehrenberg, 1834) from the Great Barrier Reef over a 16 day interval. High DIC availability did not affect photosynthesis, respiration and light calcification, but significantly reduced dark calcification and growth by 50 and 23%, respectively. High DOC availability reduced net and gross photosynthesis by 51% and 39%, respectively, but did not affect respiration. DOC addition did not influence calcification, but significantly increased growth by 42%. Combination of high DIC and high DOC availability did not affect photosynthesis, light calcification, respiration or growth, but significantly decreased dark calcification when compared to both controls and DIC treatments. On the ecosystem level, high DIC concentrations may lead to reduced accretion and growth of reefs dominated by Acropora that under elevated DOC concentrations will likely exhibit reduced primary production rates, ultimately leading to loss of hard substrate and reef erosion. It is therefore important to consider the potential impacts of elevated DOC and DIC simultaneously to assess real world scenarios, as multiple rather than single factors influence key physiological processes in coral reefs.

Structure of glasses and melts

Wilding, M. C., Benmore, C. J. (2006). Structure and Glasses and Melts. reviews in Mineralogy and Geochemistry, 63 (1), 275-311 RAE2008

Discharge competence and pattern formation in peatlands: a meta-ecosystem model of the Everglades ridge-slough landscape.

Regular landscape patterning arises from spatially-dependent feedbacks, and can undergo catastrophic loss in response to changing landscape drivers. The central Everglades (Florida, USA) historically exhibited regular, linear, flow-parallel orientation of high-elevation sawgrass ridges and low-elevation sloughs that has degraded due to hydrologic modification. In this study, we use a meta-ecosystem approach to model a mechanism for the establishment, persistence, and loss of this landscape. The discharge competence (or self-organizing canal) hypothesis assumes non-linear relationships between peat accretion and water depth, and describes flow-dependent feedbacks of microtopography on water depth. Closed-form model solutions demonstrate that 1) this mechanism can produce spontaneous divergence of local elevation; 2) divergent and homogenous states can exhibit global bi-stability; and 3) feedbacks that produce divergence act anisotropically. Thus, discharge competence and non-linear peat accretion dynamics may explain the establishment, persistence, and loss of landscape pattern, even in the absence of other spatial feedbacks. Our model provides specific, testable predictions that may allow discrimination between the self-organizing canal hypotheses and competing explanations. The potential for global bi-stability suggested by our model suggests that hydrologic restoration may not re-initiate spontaneous pattern establishment, particularly where distinct soil elevation modes have been lost. As a result, we recommend that management efforts should prioritize maintenance of historic hydroperiods in areas of conserved pattern over restoration of hydrologic regimes in degraded regions. This study illustrates the value of simple meta-ecosystem models for investigation of spatial processes.

Mitochondrial fusion is regulated by Reaper to modulate Drosophila programmed cell death.

In most multicellular organisms, the decision to undergo programmed cell death in response to cellular damage or developmental cues is typically transmitted through mitochondria. It has been suggested that an exception is the apoptotic pathway of Drosophila melanogaster, in which the role of mitochondria remains unclear. Although IAP antagonists in Drosophila such as Reaper, Hid and Grim may induce cell death without mitochondrial membrane permeabilization, it is surprising that all three localize to mitochondria. Moreover, induction of Reaper and Hid appears to result in mitochondrial fragmentation during Drosophila cell death. Most importantly, disruption of mitochondrial fission can inhibit Reaper and Hid-induced cell death, suggesting that alterations in mitochondrial dynamics can modulate cell death in fly cells. We report here that Drosophila Reaper can induce mitochondrial fragmentation by binding to and inhibiting the pro-fusion protein MFN2 and its Drosophila counterpart dMFN/Marf. Our in vitro and in vivo analyses reveal that dMFN overexpression can inhibit cell death induced by Reaper or γ-irradiation. In addition, knockdown of dMFN causes a striking loss of adult wing tissue and significant apoptosis in the developing wing discs. Our findings are consistent with a growing body of work describing a role for mitochondrial fission and fusion machinery in the decision of cells to die.

THE PERFORMER’S INFLUENCE ON FRANCO-BELGIAN COMPOSITIONS FROM 1870 TO 1930

The turn of the 20th century marked an ascendancy of the Franco-Belgian school of composers. French composers were inspired by the great German composers of the Romantic era, and they created their own defined national style that emerged toward the end of the 19th century. The Franco-Belgian composers’ special emphasis on tone, timbre and color encouraged a more individual, personally interpretative approach. These devices underscore the importance and influence a performer can have on the outcome of a piece. I researched the relationship between composers and violinists at a time when the Franco-Belgian style developed and flourished. The Franco-Belgian school of violin playing emerged from the Paris and Brussels conservatories as well as the symbiotic relationship between the performers and composers. Three recitals in collaboration with pianist David Ballena, which comprise this dissertation project, were performed at the University of Maryland. Each recital featured music for violin and piano from 1870 through 1930. The repertoire was chosen to reflect a performer’s influence on a composer. I examined specific composer/performer relationships that helped shape the birth of a newly defined “French” style of playing. My research focused on the stylistic interactions composers, such as César Franck, his disciple Guillaume Lekeu had with the leading prominent Belgian violinist Eugène Ysaye and between Maurice Ravel and the Hungarian violinist Jelly d’Aranyi. I also looked into the personal relationship between friends who inspired each other: Gabriel Fauré and Paul Viardot, Edouard Lalo and Pablo de Sarasate, Claude Debussy and Arthur Hartmann, and the young Lili Boulanger and Yvonne Astruc. Furthermore, I looked into the unfulfilled love between Maurice Ravel and Hélène Jourdan-Morhange, as well as the marriage of Olivier Messiaen with Claire Delbos, both relationships resulting in masterpieces for violin that have remained a part of the standard violin repertoire. My research led me to understand what type of violin playing each composer had in mind while composing, all of which led me to understand the importance a performer has in preserving national styles. The recitals were recorded on compact discs and archived within the Digital Repository at the University of Maryland (DRUM).

TALLY HORN! ECHOES OF HOOFBEATS AND HAUNTS: RECORDED SELECTIONS FOR HORN AND PIANO

In the 17th and 18th centuries, the European hunting horn was an instrument associated with the thrill of the chase, rustic scenes, and the pageantry of royal hunts. The sound of this horn and the music that evolved from its heritage would inspire composers writing for the modern horn. TALLY HOrn! Echoes of Hoofbeats and Haunts: Recorded Selections for Horn and Piano are two compact discs of works for horn and piano as well as solo horn reflecting this association with the hunt and include additional works of expressive contrast – lyrical pieces and nocturnes. Nine of the pieces reflect the modern horn’s beginnings and they are Abbot’s Alla Caccia, Berge’s Horn-Lokk, Boutry’s Chassacor, Bozza’s En Fôret, Büsser’s La Chasse de St. Hubert, Pessard’s In the Forest, Piantoni’s Air de Chasse, Schmid’s Im Tiefsten Walde, and Vinter’s Hunter’s Moon. By contrast, three of the selections, Gliére’s Nocturne, Strauss’ Nocturno, and Van Ecchaute’s Nachtpoëma are nocturnes that showcase the expressive quality of the horn. In addition, Bush’s Autumn Poem, Bacon’s Song After the Rain, and Webber’s Summer Pastures are included for their lyric qualities and evocations of nature. The largest work of the project is John Williams’s Concerto for Horn. Its five movements feature both hunting horn traits and expressive qualities. Alejandro Hernandez-Valdez and Grace Cho were the two pianists engaged for the recording. The recording engineer was Edward Kelly. The producer was Carlos Rodriquez. The pieces were recorded at the Spencerville Seventh-day Adventist Church sanctuary in Spencerville, Maryland between November 2010 and February 2011.

A GLOBAL SAMPLING OF PIANO MUSIC FROM 1978 TO 2005

Pianists of the twenty-first century have a wealth of repertoire at their fingertips. They busily study music from the different periods -- Baroque, Classical, Romantic, and some of the twentieth century -- trying to understand the culture and performance practice of the time and the stylistic traits of each composer so they can communicate their music effectively. Unfortunately, this leaves little time to notice the composers who are writing music today. Whether this neglect proceeds from lack of time or lack of curiosity, I feel we should be connected to music that was written in our own lifetime, when we already understand the culture and have knowledge of the different styles that preceded us. Therefore, in an attempt to promote today’s composers, I have selected piano music written during my lifetime, to show that contemporary music is effective and worthwhile and deserves as much attention as the music that preceded it. This dissertation showcases piano music composed from 1978 to 2005. A point of departure in selecting the pieces for this recording project is to represent the major genres in the piano repertoire in order to show a variety of styles, moods, lengths, and difficulties. Therefore, from these recordings, there is enough variety to successfully program a complete contemporary recital from the selected works, and there is enough variety to meet the demands of pianists with different skill levels and recital programming needs. Since we live in an increasingly global society, music from all parts of the world is included to offer a fair representation of music being composed everywhere. Half of the music in this project comes from the United States. The other half comes from Australia, Japan, Russia, and Argentina. The composers represented in these recordings are: Lowell Liebermann, Richard Danielpour, Frederic Rzewski, Judith Lang Zaimont, Samuel Adler, Carl Vine, Nikolai Kapustin, Akira Miyoshi and Osvaldo Golijov. With the exception of one piano concerto, all the works are for solo piano. This recording project dissertation consists of two 60 minute CDs of selected repertoire, accompanied by a substantial document of in-depth program notes. The recordings are documented on compact discs that are housed within the University of Maryland Library System.

THE ART SONG OF SOUTH AMERICA: AN EXPLORATION THROUGH PERFORMANCE

The repertoire included in this dissertation was presented over the course of three recitals, The Songs of Argentina, The Songs of Brazil, Chile and Venezuela, and The Songs of Perú and Colombia. Each recital was supplemented by written program notes and English translations of the Spanish, Portuguese and Quechua texts. The selections presented in this study was chosen in an effort to pair the works of internationally renowned composers like Argentine composers Alberto Ginastera and Carlos Guastavino, and Brazilian composer Heitor Villa-Lobos, with those of lesser-known composers, including Venezuelan composer Juan Bautista Plaza, Peruvian composers Edgar Valcárcel, Theodoro Valcárcel, and Rosa Mercedes Ayarza de Morales, and Colombian composer Jaime Léon. Each composer represents a milestone in the development of art song composition in South America. All three recitals were recorded and are available on compact discs in the Digital Repository at the University of Maryland (DRUM). This dissertation was completed in May, 2011.

THE ART OF TRANSCRIBING FOR HARPSICHORD

A relatively unexplored area of the harpsichord repertoire is the group of transcriptions made by J.S. Bach (1685-1750), Jean Henry d'Anglebert (1629-1691), and Jean-Baptiste Forqueray (1699-1782). These transcriptions are valuable and worth exploring and performing. Studying them provides unique insights into their composer‘s musical thinking. By comparing transcriptions with their original sources, the transcriber's decisions and priorities can be observed. The performance component of this dissertation comprises three recitals. The first features works of Johann Sebastian Bach: two transcriptions of violin concerti by Antonio Vivaldi (1678-1741), and two transcriptions of trio sonatas by Johann Adam Reinken (1643-1722). The most salient feature of Bach‘s transcriptions is his addition of musical material: ornamenting slow movements, adding diminutions and idiomatic keyboard figurations throughout, and recomposing and expanding fugal movements. The second recital features works of Jean Henry d'Anglebert and Jean-Baptiste Forqueray, two French composer/performers. From d'Anglebert‘s many transcriptions, I assembled two key-related suites: the first comprised of lute pieces by Ennemond Gaultier (c. 1575-1651), and the second comprised of movements from operas by Jean-Baptiste Lully (1632-1687). Forqueray's transcriptions are of suites for viola da gamba and continuo, composed by his father, Antoine Forqueray (1671-1745). Creative and varied ornamentation, along with the style brisé of arpeggiated chords, are the most important features of d‘Anglebert‘s transcriptions. Forqueray‘s transcriptions are highly virtuosic and often feature the tenor and bass range of the harpsichord. The third recital features my own transcriptions: the first suite for solo cello by J.S. Bach, excerpts from the opera La Descente d’Orphée aux Enfers by Marc-Antoine Charpentier (1643-1704), and two violin pieces by Nicola Matteis (fl. c. 1670-c. 1698). In these transcriptions, I demonstrate what I have learned from studying and performing the works in the first two recitals. These recitals were performed in the Leah Smith Hall at the University of Maryland on May 4, 2010; May 11, 2010; and October 7, 2010. They were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

PIANO AS A PARTNER IN TWENTIETH­ CENTURY ART SONG REPERTOIRE: A RECORDING PROJECT

The piano's role in art song repertoire has evolved from a modest one during its formative years to the versatility, complexity and creativity found in the twentieth-century. The art song repertoire of the twentieth century is vast and has secured the reputation for being the most diverse, innovative, illustrative, atmospheric and colorful in all of art song literature. Within this time period, there are compositions that reach back to the romantic works of nineteenth century, others which combine old and new traditions, and finally those which adopt new means and new ends. In choosing the material for this project, I have focused on compositions with uniquely challenging and unusual piano accompaniments in order to achieve a balance between well- known and rarely performed works, as well as those pieces that combine various languages and styles. Selections range from Claude Debussy, Richard Strauss, Sergey Rachmaninoff, Ralph Vaughan Williams, Roger Quilter, Francis Poulenc, Fernando Obradors, and Joaquin Rodrigo to composers such as Samuel Barber, Marc Blitzstein, Dominick Argento, William Bolcom, and John Duke, including arrangements of traditional spirituals by Harry T. Burleigh and Florence B. Price, all of which helped to establish the American Art Song. My objective is to trace the development of the twentieth-century art song from the late Romantic Period through nationalistitrends to works which show the influences of jazz and folk elements. The two CD's for this dissertation recording project are available on compact discs which can be found in the Digital Repository at the University of Maryland (DRUM). The performers were Daniel Armstrong, baritone, Giles Herman, baritone, Thomas Glenn, tenor, Valerie Yinzant, soprano, Aaron Odom, tenor, Jennifer Royal, soprano, Kenneth Harmon, tenor, Karen Sorenson, soprano and Maxim Ivanov, baritone.

INNOVATIONS IN FRENCH CHAMBER MUSIC AND MÉLODIE (1886 – 1962) – A COLLABORATIVE PIANIST’S PERSPECTIVE

French chamber music in the last quarter of the nineteenth century displayed significant advances in musical innovations and technical developments. As the Parisian public began to favor instrumental music and mélodie over opera, vocal and chamber music with piano became one of the main genres to express French composers’ creativity and individuality. The composers Franck, Debussy, Fauré, Duparc, Ravel, Chausson and Poulenc were the major contributors to this unusually creative period in French music. French mélodies of this period blend precision with lyricism, and demand the performer’s elegance and wit. They show careful settings of the French language’s rhythmic subtleties and increased expressiveness in and importance of the piano accompaniment. The chamber works of this period demanded superior pianistic and instrumental virtuosity while displaying wide ranges of sonority, multiple tone colors, and rhythmic fluidity. The three recitals which comprise this dissertation project were performed at the University of Maryland Gildenhorn Recital Hall on 27 October 2006, All Nations Mission Church (Dayton, NJ) on 5 December 2009, and the Leah M. Smith Lecture Hall of the University of Maryland on 11 May 2010. The repertoire included Poulenc’s Sonata for Oboe and Piano (1962) with oboist Yeongsu Kim, French mélodies by Fauré, Chausson, Debussy, Ravel and Duparc with soprano Jung-A Lee and baritone Hyun-Oh Shin, Poulenc’s Sextet for Piano, Flute, Oboe, Clarinet, Bassoon and Horn (1932-1939) with flutist Katrina Smith, clarinetist Jihoon Chang, bassoonist Erich Heckscher, hornist Heidi Littman and oboist Yeongsu Kim, Debussy’s Sonata for Cello and Piano (1915) with cellist Ji-Sook Shin, Poulenc’s Sonata for Violin and Piano (1942-1949) with violinist Ji-Hee Lim, Franck’s Sonata for Violin and Piano (1886) with violinist Na-Young Cho, Ravel’s Piano Trio (1915) with cellist Ji-Sook Shin and violinist Yu-Jeong Lee and Ravel’s Sonata for Violin and Piano (1927) with violinist Yu-Jeong Lee. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).