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.

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).

WORKS FOR HORN BY AMERICAN WOMEN COMPOSERS

This performance dissertation consists of three recitals featuring the music of American women composers of the 20th and 21st centuries. My purpose in presenting these recitals is to expose and explore the lesser known compositions of these composers through live public performances. I selected a cross section of composers whose compositions employed a wide range of musical styles, techniques and instrumentation. The instrumentation included not only the "standard" works for solo horn and horn and piano, but various chamber compositions as well. Of these chamber works, there exists a duet for horn and harp, a trio for violin, cello and horn, and a quartet for viola, horn, piano, and percussion. In addition to the published works chosen, it was my intent to further heighten the awareness of American women composers through the commissioning of a work specifically for this dissertation. The resulting piece was Arbor for horn and harp by Elisabeth Mehl Greene, which received its premiere on April 18, 2009. Through this project, it is my hope to have not only increased the public's awareness of these lesser known works but to have contributed to the performances of these ever growing number of works by American women composers.

VARIATION FORMS: A SURVEY THROUGH FOUR CENTURIES OF VIOLIN REPERTOIRE

Variation, or the re-working of existing musical material, has consistently attracted the attention of composers and performers throughout the history of Western music. In three recorded recitals at the University of Maryland School of Music, this dissertation project explores a diverse range of expressive possibilities for violin in seven types of variation form in Austro-German works for violin from the 17th through the 20th centuries. The first program, consisting of Baroque Period works, performed on period instrument, includes the divisions on “John come kiss me now” from The Division Violin by Thomas Baltzar (1631 – 1663), constant bass variations in Sonate Unarum Fidium by Johann Heinrich von Schmelzer (1623 – 1680), arbitrary variation in Sonata for Violin and Continuo in E Major, Op. 1, No. 12 “Roger” by George Friedrich Händel (1685 – 1759), and French Double style, melodic-outline variation in Partita for Unaccompanied Violin in B Minor by Johan Sebastian Bach (1685 – 1750). Theme and Variations, a popular Classical Period format, is represented by the Sonata for Piano and Violin in G Major K. 379 by Wolfgang Amadeus Mozart (1756 – 1791) and Sonata for Violin and Piano in A Major, Op. 47 No. 9 the “Kreutzer” by Ludwig van Beethoven (1770 – 1827). Fantasy for Piano and Violin in C Major D. 934 by Franz Schubert (1797 – 1828) represents the 19th century fantasia variation. In these pieces, the piano and violin parts are densely interwoven, having equal importance. Many 20th century composers incorporated diverse types of variations in their works and are represented in the third recital program comprising: serial variation in the Phantasy for Violin and Piano Op.47 of Arnold Schoenberg (1874 – 1951); a strict form of melodic-outline variation in Sonate für Violine allein, Op. 31, No. 2 of Paul Hindemith (1895 – 1963); ostinato variation in Johan Halvorsen’s (1864 – 1935) Passacaglia for Violin and Viola, after G. F. Handel’s Passacaglia from the Harpsichord Suite No. 7 in G Minor. Pianist Audrey Andrist, harpsichordist Sooyoung Jung, and violist Dong-Wook Kim assisted in these performances.

REVOLUTIONARY VIOLIN LITERATURE IN THE TRANSFORMATIVE PERIOD OF THE 20TH CENTURY, 1900-1970

In satisfaction of requirements for a Doctor of Musical Arts degree at the University of Maryland, College Park, three recitals were given consisting of works of the early 21st Century European composers. The works performed on these recitals showcase a variety of compositional styles that explore different qualities of the violin. The purpose of this project was to demonstrate how the war and conflict in Europe and attendant radical cultural and social developments affected these composers. The first recital program includes: Sonata for Violin and Cello and Piece en Forme de Habanera by Maurice Ravel; Op. 30 Mythesfor Violin and Piano by Karol Szymanowski; Concertina for Violin and Piano and Sonata No.2 for Violin Solo by Grazyna Bacewicz. The second recital program consists of: Sonata for Violin and Piano by Leos Janacek; Quartet for the End of Time: movement VIII "Louange a l'Immortalite de Jesus" by Oliver Messiaen; Sonata for Solo Violin by Erwin Schulhoff; and Passacaglia & Fuga for String Trio by Hans Krasa. The third recital highlights the works of Russian composers: Sonata for Violin and Piano Op.134 by Dmitri Shostakovich; and Violin Sonata No.2 in D major Op. 94 by Sergei Prokofiev. These composers represent individual, distinct and fascinating adaptation to events beyond their control as well as their power of transformation. The first recital was performed in collaboration with Hsiang-Ling Hsiao on piano and Gozde Yasar on cello. The second recital was given with Hsiang-Ling Hsiao on piano, Gozde Yasar on cello, and Asli Gultekin Ozek on viola. The third recital was performed with David Ballena on piano. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

LUCIANO BERIO’S NATURALE: A STORY COMBINING FOLK MUSIC AND ART MUSIC

The study of a score by a serious performer is a fundamental step in the process of arriving at a knowledgeable and deeply informed approach to performing a piece of music. In order to obtain this knowledge numerous aspects of the score must be taken into consideration. It is the intent of this dissertation to gather and analyze the information concerning Naturale, a work written by Luciano Berio in 1985 for viola, percussion and recorded voice, based on Sicilian folk songs. All the aspects surrounding Naturale’s existence are taken into consideration in this study. First, it is important to reflect on Berio’s compositional style and traits, the manner in which he relates his works one to another, what he sees in folk music and his own personal desire to intertwine art music and folk music. For Berio Naturale is not an isolated venture into the realm of mixing folk music and his own avant-garde style; it is instead one of many works resulting from his long-standing relationship with folk music. Another essential aspect in this case is the study of Sicilian folk music itself, and the sources used by Berio to find the songs by which he was inspired. The work is examined section by section with figures showing both excerpts of Naturale as well as the original songs with their translations. An analysis containing harmonic, thematic and formal aspects of the score was developed in order to arrive at a better understanding of the structure and pacing of the piece. For this research the author went to Italy to conduct an interview with Maestro Aldo Bennici, the Sicilian violist for whom Naturale was composed. This interview helped in the discovery of two more songs used by Berio that have not to this point been identified in any other document. Bennici’s outstanding testimony portrayed the expressive character of this music and the evocative imagery behind this score. I hope to bring this knowledge to other performers, that they may fully understand and appreciate the unique beauty and power of Berio’s Naturale.

A study of the use of the trimesium salt of glyphosate to desiccate and ret flax and linseed (Linum usitatissimum) and of its effects on the yield of straw, seed and fibre

A replicated field plot experiment was carried out in Northern Ireland in 1996 with flax, cv Ariane, and linseed, cv Flanders, each grown at seed rates of 500, 1000 and 1500 seeds/m(2), in which a comparison was made between netting of the standing crop, following desiccation by the trimesium salt of glyphosate (Touchdown, Zeneca Ltd.), and water or dew retting of the pulled crop. Application at 4 litres/ha on 9 August, 33 days after the mid-point of flowering (MPF), achieved both desiccation and partial retting of the crop within 14 days. Over 16 % clean long fibre was extracted by scutching the stand-netted flax straw, yielding 800 kg/ha fibre, while water retting achieved 20 extraction and 980 kg/ha yield and dew netting 8.5 % and 420 kg/ha respectively. The dew retting was uneven, resulting in high losses during fibre extraction, while water retting for 7 days at 25 degreesC did not achieve complete retting resulting in a high content of woody fragments in the fibre. Fibre yields increased by almost 50 % with the high v. low seed rate. Linseed was less well retted than flax and contained higher levels of impurity in the extracted long fibre which, after retting, yielded 120 to 310 kg/ha at extraction rates of 2.9 % to 7.5 %.

In a second experiment in 1998 flax cvs. Viola and Evelyn were treated with the timesium salt of glyphosate at rates of 2, 4 or 6 litres/ha 10, 20, 30 or 40 days after MPF on 5 July. Viola desiccated satisfactorily at all spray dates with 4 and 6 litres/ha glyphosate. The 20-day treatment desiccated more slowly than the 30-day and the 2 litres/ha rate did not achieve complete desiccation, but the trimesium salt of glyphosate achieved better desiccation at this timing than that found in earlier studies with the original form of glyphosate. Evelyn desiccated more slowly and less evenly than Viola particularly at the 20-day and 40-day timings. Spraying at MPF + 10 days interrupted early development of the seed and fibre significantly reducing yields. Due to slower desiccation the 20-day timing was no better than the 30-day, which was well retted by harvest 44 days after spraying, and gave the highest yield of clean long fibre. The spraying 40 days after MPF was considered too late in the season to be of practical use. It was concluded that retting of standing flax following desiccation with the trimesium salt of glyphosate was more effective than with the earlier formulation and that resting of the standing crop could achieve equivalent or better retting with similar fibre yields to traditional retting methods. The optimum spray timing was found to be about 30 days after MPF with 4 or 6 litres/ha, the lower rate being adequate for glyphosate responsive varieties such as Viola.

In All The Worlds

This is a sequence of miniature pieces (totalling 30 minutes of music) for viola d'amore and string quartet, commissioned by Garth Knox for performance with Quatuor Bela (Paris.) Premiere will take place in Paris, November 2013.

Hall Of Mirrors:piano quartet for young musicians

for piano, violin, violin or viola, cello

A White Room:piano quartet for young musicians

for piano, violin, violin or viola, cello

Tidy Your Room:piano quartet for young musicians

for piano, violin, viola and cello

Hide In The Attic:piano quartet for young musicians

for piano, violin, violin or viola, cello

A Lead-Free and High-Energy Density Ceramic for Energy Storage Applications

In this work, we demonstrate a very high-energy density and high-temperature stability capacitor based on SrTiO3-substituted BiFeO3 thin films. An energy density of 18.6 J/cm3 at 972 kV/cm is reported. The temperature coefficient of capacitance (TCC) was below 11% from room temperature up to 200°C. These results are of practical importance, because it puts forward a promising novel and environmentally friendly, lead-free material, for high-temperature applications in power electronics up to 200°C. Applications include capacitors for low carbon vehicles, renewable energy technologies, integrated circuits, and for the high-temperature aerospace sector. © 2013 Crown copyright

Real-Time Face Recognition from Surveillance Video

This chapter describes an experimental system for the recognition of human faces from surveillance video. In surveillance applications, the system must be robust to changes in illumination, scale, pose and expression. The system must also be able to perform detection and recognition rapidly in real time. Our system detects faces using the Viola-Jones face detector, then extracts local features to build a shape-based feature vector. The feature vector is constructed from ratios of lengths and differences in tangents of angles, so as to be robust to changes in scale and rotations in-plane and out-of-plane. Consideration was given to improving the performance and accuracy of both the detection and recognition steps.

A New Analysis of Mars "Special Regions": Findings of the Second MEPAG Special Regions Science Analysis Group (SR-SAG2)

A committee of the Mars Exploration Program Analysis Group (MEPAG) has reviewed and updated the description of Special Regions on Mars as places where terrestrial organisms might replicate (per the COSPAR Planetary Protection Policy). This review and update was conducted by an international team (SR-SAG2) drawn from both the biological science and Mars exploration communities, focused on understanding when and where Special Regions could occur. The study applied recently available data about martian environments and about terrestrial organisms, building on a previous analysis of Mars Special Regions (2006) undertaken by a similar team. Since then, a new body of highly relevant information has been generated from the Mars Reconnaissance Orbiter (launched in 2005) and Phoenix (2007) and data from Mars Express and the twin Mars Exploration Rovers (all 2003). Results have also been gleaned from the Mars Science Laboratory (launched in 2011). In addition to Mars data, there is a considerable body of new data regarding the known environmental limits to life on Earth—including the potential for terrestrial microbial life to survive and replicate under martian environmental conditions. The SR-SAG2 analysis has included an examination of new Mars models relevant to natural environmental variation in water activity and temperature; a review and reconsideration of the current parameters used to define Special Regions; and updated maps and descriptions of the martian environments recommended for treatment as “Uncertain” or “Special” as natural features or those potentially formed by the influence of future landed spacecraft. Significant changes in our knowledge of the capabilities of terrestrial organisms and the existence of possibly habitable martian environments have led to a new appreciation of where Mars Special Regions may be identified and protected. The SR-SAG also considered the impact of Special Regions on potential future human missions to Mars, both as locations of potential resources and as places that should not be inadvertently contaminated by human activity. Key Words: Martian environments—Mars astrobiology—Extreme environment microbiology—Planetary protection—Exploration resources. Astrobiology 14, 887–968.