东海榴辉岩向斜长角闪岩的转化过程

The Ultrahigh Pressure Metamorphic (UHPM) eclogite, which was resulted from deep subduction of crustal continent, is very significant due to its continental dynamic implications. Further more, this kind of rocks experienced great P-T, fluid and stresses changes during its forming and exhumation, causing mineral reactions occur intensively, which resulted in a lot of fantastic micro-texture. The micro-texture was preserved duo to a rapid exhumation of the eclogite. This PhD dissertation takes such micro-textures in 10 Donghai eclogite samples South Sulu UHPM terrene, as research object to reveal the transformation of the eclogite to amphibolite. Microscope and Scanning Electron Microscope were employed to observe the micro-texture. Basing on microprobe analysis of minerals, the ACF projections and iso-con analysis were used to uncover the mineral reactions during the transformation. Micro-texture observation (both of Microcopy and Electron Scanning Microscope), demonstrated: l.The peak mineral assemblage of the researched Donghai eclogites is garnet + omphacite + rutile (+ kyanite + aptite +coesite). 2.The transformation of the Donghai eclogite to amphibolite can be divided into two stages: The earlier one is Symplectization, resulting in the forming of diopside + albite (+magnetite) symplectite that occurred only along the boundary between two adjacent omphacite grains. Other minerals were not involved in such reaction. The latter stage is Fluid-Infiltration of the eclogite, which was caused by fluid-intrusion. The infiltration is demonstrated by amphibolization of the symplectite, decomposition of garnet and the forming of some hydrous minerals such as phengite and epidote, and resulted in an amphibole + plagioclase + phengite + epidote or ziosite assemblage. Basing on microprobe analysis of the minerals, ACF projections indicated: In the ACF diagrams, the two joint lines of peak Grt + Omp and Dio + Ab crossed at Omp projection-point, indicating that the garnet had not taken part in the forming reaction of the Dio + Ab symplectite, just like that had been pointed out by micro-texture observation. In the ACF diagrams, the hornblende + plagioclase + epidote + phengite quadrilateral intersected with Dio + Ab + Grt triangle, demonstrating that the hydrous mineral assemblage was formed by fluid infiltration through garnet, diopside and albite. Iso-con (mass-balance) analysis of the symplectization and infiltration reveals: 1.The symplectization of the omphacite has a very complex mass exchange: Some symplectite gained only silicon from its surroundings; and some one requires Ca, but provides Na to its surroundings; while other symplectite provides Ca, Mg and Fe to its surroundings. 2.The infiltration cause variable mass exchanges occurring among the garnet, diopside and albite: In some eclogite sample, no mass, except H2O, exchange occurred during the infiltration. Meanwhile, there was not any hydrous mineral except hornblende formed in the sample accordingly. In some samples, the mass exchange among the three minerals is complex: amphibolization of the diopside in a symplectite gained Al from garnet, and provided Si and Ca to its surrounding, resulting in a Si, Ca and Al-rich fluid. Correspondingly, there was a lot of phengite and ziosite occurred in the sample. In other samples, the amphibolization of a symplectite provided Fe and Mg besides Si and Ca to its surrounding while gained Al. In such kind of sample, epidote occurred within the hydrous mineral assemblage. Synthesizing the micro-texture observation, ACF analysis and iso-con analysis, we deduced the transformation procedure as following: 1. A symplectite after an omphacite was resulted by one, or two, or all of following mineral reactions together: Jd (Ca-Tsch) +SiO2=Ab (An) (1) 4NaA IS i.A+CaO=2NaAlS i308+Na20+CaAl2S 1208 (2) 2NaAlSi2OB (Jd in Omp)+CaMgSi;,0B(Dio in Omp)-2NaAlSi:,O"(Ab)+Ca0+Mg0 (3) 2(CaAl2Si0fi) (Ca-tsch in Omp)+CaFeSi2O6(Hed in 0mp)-H>2CaAl2Si208(An)+Ca0 + FeO (4) A CO2-rich fluid is suggested as cataclysm for the above reactions, which largely increased the mobility of Ca, Mg and Na resulted from reaction (2), (3) and (4). The immobile product Fe2* combined with rutile to form ilmenite, resulting in rutile + ilmenite symplectite. Or, the Fe was precipitated as hematite locally. A procedure of the fluid infiltration as following is suggested: I .A hydrous fluid intruded into the eclogite, and reacted first with garnet to form hornblende and extra Al, resulting in a hornblende film around the garnet grain and an Al-rich fluid. 2.The Al-rich fluid infiltrated through the symplectite, OH" and part of the Al in the fluid combined with Dio while some Si and Ca in the Dio were dissolved made the Dio transferred to amphibole. Meanwhile, plagioclase-type cation exchange occurred between the fluid and plagioclase in the symplectite, making the plagioclase have a higher An-content. 3.Above infiltration and cation exchange resulted in an Al, Si, Ca (and K, providing the primary hydrous fluid contain K)-rich fluid. 4.Under suitable conditions, the solute in the fluid precipitated to form phengite firstly. After the K element in the fluid was consumed up, ziosite or epidote was formed. If the fluid did not contain any K. element, only ziosite or epidote was precipitated. For those eclogites, where all omphacite had been replaced by symplectite before infiltration, neither element exchange occurred, nor did phengite or epidote form during the infiltration. At the last stage, the garnet was oxidized and breakdown: garnet + H2O = epidote + hornblende + hematite, due to more and more fluid intruding into the eclogite. At this time, all the peak minerals were replaced by amphibolite-phase ones, and the eclogite transformed to an amphibolite completely. Tentative pressure calculation indicates that the infiltration occurred at 3-6kbar (about 10-20km depth), where the deformation mechanics transformed from brittle to ductile yield. At such depth, the surface water can permeate the rocks through fault system, causing a rapid cooling.

Experimental investigation of an unstable ring resonator with 90-deg beam rotation for a chemical oxygen iodine laser

We report the experimental results of an unstable ring resonator with 90-deg beam rotation for a kilowatt class chemical oxygen iodine laser (COIL). The distributions of near-field phase and far-field intensity were measured. A beam quality of 1.6 was achieved when the COIL average output power was approximately 5 kW. (C) 1999 Optical Society of America.

A Parallel Processing Model of Musical Structures

Euterpe is a real-time computer system for the modeling of musical structures. It provides a formalism wherein familiar concepts of musical analysis may be readily expressed. This is verified by its application to the analysis of a wide variety of conventional forms of music: Gregorian chant, Mediaeval polyphony, Back counterpoint, and sonata form. It may be of further assistance in the real-time experiments in various techniques of thematic development. Finally, the system is endowed with sound-synthesis apparatus with which the user may prepare tapes for musical performances.

Organ Recital Mainzer Dom.

Concert performance in 2012 Internationaler Orgelsommer 4 August 2012. Showcase of British music from 19th and 20th centuries. Weitz Fanfare and Gothic March; Handel Organ Concerto Op 4 No 5; W.T.Best Sonata in G; Francis Jackson Toccata, Chorale and Fugue; Hollins A Song of Sunshine; Healey Willan Introduction Passacaglia and Fugue

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

STUDIES AND PERFORMANCES OF TRANSCRIPTIONS FOR CELLO FROM THE VIOLIN REPERTOIRE

The potential of the violoncello as a solo instrument was recognized and supported by cellists such as Luigi Boccherini (1743-1805), Luis Duport (1749-1819), Auguste Franchomme (1808-1884), and Alfredo Piatti (1822-1901). These pioneers composed technically demanding etudes, exercises, and caprices for the cello that were comparable to those already present in the violin literature. Even so, in the late nineteenth century and early twentieth century, considerably fewer substantial works were brought forth for the cello as compared with the violin. Consequently, many cellists such as Luigi Silva (1903-1961), Gregor Piatigorsky (1903-1976), Pierre Fournier (1906-1986), and Janos Starker (b. 1924) selected notable pieces from the violin repertoire and transcribed these for the cello. Some composers themselves actually adapted for the cello their own works originally written for the violin. Johannes Brahms with his Violin Sonata Op. 78, Igor Stravinsky with his Suite Italienne, and Béla Bartók with his First Rhapsody all belong to this category. Adaptations such as these further raised awareness among composers and performers of the possibilities of the cello as an independent and expressive instrument. Thus, many composers from the early 1900s to the present were encouraged to write increasing numbers of more soloistic and demanding works for cello. Herein, I explore the repertoire of cello transcriptions in order to analyze the differences between the original and transcribed versions and the challenges found therein. The performer may attempt to recreate the effect originally intended for the violin or, more daringly, may strive to search for alternate presentations of the music more suitable and expressive of the cello's own character. The project includes two recitals of the following transcribed works presented at the University of Maryland College Park, School of Music: Sonata in A by César Franck, transcribed by Jules Delsart, Variations on a Theme from Rossini by Nicolo Paganini, transcribed by Fournier, Suite Italienne by Igor Stravinsky, transcribed with the help of Piatigorsky, Sonatina Op. 137, No. 1 by Franz Schubert, transcribed by Starker, First Rhapsody by Béla Bartók and Sonata, Op. 108 by Johannes Brahms, transcribed by Hsiao-mei Sun.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

REQUIRED VIOLA REPERTOIRE FOR THE PRIMROSE COMPETITION AND THE TERTIS COMPETITION

William Primrose (1903-1982) and Lionel Tertis (1876-1975) made the viola a grand instrument for public performances of solo and chamber music throughout their long and active lives characterized by a common passion for the viola. I, too, have been deeply inspired by their passion for the viola. I chose, therefore, for my doctoral performance project to feature works for viola from the required repertoire of the William Primrose and Lionel Tertis competitions of 2001 and 2003, respectively. For purposes of the performances, I divided selections from the combined repertoire for the William Primrose and Lionel Tertis competitions into three recitals. The first recital included Sonata, Opus 120, No.2 in E-flat Major (1894) by Johannes Brahms; Sonata, Opus 147 (1975) by Dmitri Shostakovich; and Sonata (1919) by Rebecca Clarke. These pieces represent standard components of the general repertoire for both the Primrose and Tertis competitions. The second recital was comprised of two works dedicated by their composers to Primrose: Lachrymae, Opus 48 (1950) by Benjamin Britten; and Concerto (1945) by Bela Bartok. The third recital included three pieces dedicated by their composers to Tertis: Sonata (1922) by Arnold Bax; Sonata in C Minor (1905) by York Bowen; and Sonata (1952) by Arthur Bliss. The goal of my preparation for these recitals was to emphasize a variety of techniques and, also, the unique timbre of the viola. For example, the works I selected emphasized high-position technique, which was not much used before the nineteenth century, and featured the lowest string (the C-string), which provides a beautifully somber and austere sonority characteristic of the viola. For these reasons, the selected works provided not only attractive and interesting pieces to study and perform but were also of educational merit.

A genome-wide association study identifies susceptibility variants for type 2 diabetes in Han Chinese.

To investigate the underlying mechanisms of T2D pathogenesis, we looked for diabetes susceptibility genes that increase the risk of type 2 diabetes (T2D) in a Han Chinese population. A two-stage genome-wide association (GWA) study was conducted, in which 995 patients and 894 controls were genotyped using the Illumina HumanHap550-Duo BeadChip for the first genome scan stage. This was further replicated in 1,803 patients and 1,473 controls in stage 2. We found two loci not previously associated with diabetes susceptibility in and around the genes protein tyrosine phosphatase receptor type D (PTPRD) (P = 8.54x10(-10); odds ratio [OR] = 1.57; 95% confidence interval [CI] = 1.36-1.82), and serine racemase (SRR) (P = 3.06x10(-9); OR = 1.28; 95% CI = 1.18-1.39). We also confirmed that variants in KCNQ1 were associated with T2D risk, with the strongest signal at rs2237895 (P = 9.65x10(-10); OR = 1.29, 95% CI = 1.19-1.40). By identifying two novel genetic susceptibility loci in a Han Chinese population and confirming the involvement of KCNQ1, which was previously reported to be associated with T2D in Japanese and European descent populations, our results may lead to a better understanding of differences in the molecular pathogenesis of T2D among various populations.

COMPOSITIONS FEATURING THE PIANO IN FANTASY FORM: 1820-1920

The Fantasy form offered a composer the freedom to create a work without concerns for fitting into the current stylistic and traditional structures. The flowering of the form seems to be concentrated from 1820-1920 since the composer started to use it as a way to convey a personal idea or to portray a special spirit. This dissertation is comprised of three recitals with fantasies in different genres and styles. Through performing these diverse fantasies, I have been inspired to connect with the imagery and spirit of the compositions in order to capture the unique sentiments of each piece. Also, in order to keep the audience absorbed in the music that is without structure, I have focused on expanding my technical abilities to vary color, sonority, and phrasing. Program one (April 26,2004) includes Fantasie, Op. 17 and Piano Concerto, Op. 54 (assisted by Ya-Hsin Wu) by R. Schumann. Program two (December 10, 2004) includes Three Fantastic Dances, Op. 5 by D. Shostakovitch, Fantasy "Sonataecossaise ", Op. 28 by F. Mendelssohn, Sonata No.2 "Sonata-Fantasy", Op. 19 by A. Scriabin and Fantasie for Piano and Violin, D 934 by F. Schubert with violinist, TaoChang Yu. The last program (November 1, 2005) includes Fantasia baetica by E. de Falla, Morceaux de Fantaisie, Op. 3 by S. Rachrnaninoff, Fantaisie, Op. 49, Impromptu No. 4 '%h.ntasy-hpromptu", Op. 66 and Polonaise-Fantaisie, Op. 61 by F. Chopin.

NEGLECTED CELLO REPERTOIRE OF TWENTIETH CENTURY ENGLISH COMPOSERS

In the Twentieth Century, the proliferation of cellists and the exceptional development of cello techniques, combined with composers' acceptance of the challenges by these developments, led many British composers to contribute to the enrichment of the cello concert repertoire. A great number of compositions written for the cello in the Twentieth Century England have been long neglected. In comparison with their other works in the genres of concerto, symphony, and opera, works for cello by prominent Twentieth Century English composers Elgar, Walton, and Britten are relatively unknown, except for Elgar's cello concerto. There are also many lesser-known composers like Delius, Bax, Bridge, and Clarke, who flourished in the fmt half of the century, but eventually became disregarded. Some reasons for this neglect may be as follows: the reluctant attitude toward new trends in the English musical establishment around the turn of the century; a lack of readily available editions of these composers' compositions; an over-abundance of fine composers at one time; and lastly, an overly individualistic approach to the music restricting a general public appreciation and recognition. Encountering a recording of the Walton cello concerto prompted me to further study the neglected Twentieth Century English cello repertoire. Many works of the above-mentioned composers still have not been fully valued in the cello repertoire. For this reason, the purpose of this project was to inspire cellists to learn and broaden as well as to appreciate the beauty of the Twentieth Century cello literature. As part of the doctoral performance project, three recitals featuring the works by six English composers were performed. My collaborator in all three recitals was pianist Eunae KO. The fmt recital included the Sonata for cello and piano by Frank Bridge and the Concerto by William Walton. The second recital was comprised of relatively unknown cello works: Sonatina in D major by Arnold Bax, Romance by Frederick Delius, and the Sonata Op. 40 by Rebecca Clarke. The third recital consisted of Folk-Tale by Arnold Bax and the Symphony for Cello and Orchestra Op. 68 by Benjamin Britten.

SELECTED VARIATIONS BY COMPOSERS IN GERMANY AND FRANCE

The Haward of Dictionary of Music (1983), defines variation as "a technique modifying a given musical idea." From the Baroque period on, the form and the techniques of variation were developed and enriched in Germany and France. Therefore, I presented the works of composers from these two nations. Even though there was a vast number of possibilities, I wanted to be scholastically fair and interesting in making my selections by choosing well-known pieces along with lesser-known ones. Haydn's well-known Variations in F minor consist of two sets of double variations which break into an improvisation fantasy. The first movement of Beethoven Sonata in A flat major, Op. 26, is a set of five variations on the composer's original theme. The variations are positioned in the first movement instead of Sonata-Allegro form. In 1861 Brahrns composed the Variations and Fugue, Op. 24, on the theme of Handel. Brahms displays a wealth of rhythmic, harmonic and textural contrasts in the variations. Chopin's E Major Variations without opus number are written on a Swiss influenced German folksong. Faure's Theme and Variations in C sharp minor, Op. 73, includes eleven variations. The work displays the composer's subtlety, grace and reticence. 12 Variationen iiber ein eigenes Thema were written by Alban Berg as a composition study with Schonberg. The Finale of Dutilleux's Piano Sonata, titled "Chorale with Variations", is written in an impressionistic style. A rich expressiveness is well blended in a classical form. In 1742, the remarkable Aria and thirty variations known as the Goldberg Variations were composed by J. S. Bach. The thirty Variations are unified by the bass line, which forms the foundation of the Aria. 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.

Three Voices in the Wilderness: Foote, Bloch, and Korngold in the Early Twentieth-Century America

Barbara Hanning points out in her book Concise History of Western Music, that "Twentieth-century American music was in large measure an extension of European music" (Hanning 1998, 515). My dissertation/perforrnance project features cello works written by three contemporary composers who lived in America but were connected to the European heritage in different ways; each contributed significantly to the development of American classical concert life, music education, and even popular culture. Programs of my performances are intended to illustrate their unique compositional styles. The first recital consists of five cello compositions of Massachusetts-born Arthur Foote (1853 - 1937): Drei Stucke fur Pianoforte und Violoncello, Op. 1; Scherzo, Op.22; Romanza, Op.33; Aubade, Op.77; and Sonata for Violoncello and Piano, Op.78. Foote was influenced by the German-trained John Knowles Paine at Harvard University; he composed music famous for its extensive chromaticism in both harmony and melodic line, and for clearly-defined formal structure. The second recital explores the music of Swiss-American composer Ernest Bloch (1880-1959): a short Meditation Hebraique, a Suite No. I for Violoncello Solo and the famous rhapsody Schelomo. Born in Geneva, Switzerland, and settling in the United States in 1916, Bloch is a composer deeply influenced by the European late-Romantic tradition and is also well-known for employing "Hebraic" elements into his works. The final performance comprises two other of Bloch's cello works and one cello concerto by the Austrian-American composer, Erich Wolfgang Korngold (1897- 1957). Bloch's Voice in the Wilderness is a symphonic poem for orchestra and cello (accompanied by piano in this performance), consisting of six movements performed without pause. His Suite No.3 for Cello Solo is shorter and has a simpler style than the first Suite. Korngold was recognized as a child prodigy in his native Austria. After a Nazi-induced exile, he immigrated to America and became a film music composer in Hollywood. The Cello Concerto was used in the movie "Deception" (1 946), for which Korngold provided the film score. The impassioned harmonic language and lavish melodic lines inherited from the high-romanticism make this work one of comparative discordant beauty among other compositions of his time.

The Development of Piano Variations in the Romantic Era

The purpose of this study is to illustrate the development of piano variations as a genre during the Romantic era. In order to facilitate this examination of piano variations techniques, a brief look at the types of variation procedures used by composers of previous eras will assist in understanding developments that later occurred in the Romantic period. Throughout the Baroque era, composers preferred the fured-bass, fixed-melody, and harmonic forms of variation. The crowning achievement of Baroque keyboard music, Bach's Goldberg Variations (1725), contains examples of the "constantharmonic" method in its collection of 30 variations, each of which maintains both the bass and harmonic structure of the themes. While most composers of the classical period favored the "melodic-outline" form of variation, Haydn developed hybrid variation procedure that exhibits recurrence of material rather than repetition, alternating variation (ABABA), rondo variation (ABACA), and ternary variation (ABA). Haydn, Mozart and early Beethoven variations also exhibit simpler textures than do their Baroque predecessors. The nineteenth century produced numerous compositions that display variation techniques, some based on such older, classical models as melodic-outline variation and hybrid variation, others in the style of the character variation or fiee variation. At the beginning of the nineteenth century, Beethoven and Schubert used such classical variation techmques as melodic-outline variations and hybrid variations. Beethoven's late sonatas displayed such new means of expression as variation, fugue, and dramatic recitatives. The third movement of the Sonata in E major, Op. 109 (1820) has a theme and six variations of the melodic-outline type. Johannes Brahms was particularly fond of composing variations for piano. Among the best known examples of formal-outline variations are those found in the Variations and Fugue on a Theme of Handel, Op. 24 (1861). Character variations, in which styles are characterized by the retention and variability of particular elements, also flourished during the Romantic period. Cesar Franck's Variations Symphoniques (1885) are, perhaps, among the most important examples of free variations. This composition is a one-movement work consisting of three sections, Introduction, Variations, and Finale (all movements played "attaca"). This work combines two independent classical formal structures, the concerto and the variation.

The Scherzo in Selected Works for Piano

This performance project will cover performing issues in terms of technique in the scherzo. The Dictionary of Musical Terms defines technique as "the system of creating music, the musical slull to show personality by controlling tones that is not an abstract theory but a practical ability in composition or performance." My project focuses on techniques in fast tempos, specifically those found in the scherzo form and in concertos containing a scherzo character. The term scherzo has varied in its meaning and form throughout history. In the Baroque period, a scherzo was a work of light vocal or instrumental character. In the Classical period, scherzo still meant light in style, but it also indicated a quick tempo, often in 2/4 time. The scherzo was usually a single movement in a suite or multi-movement work. Like the minuet form, the scherzo contained a contrasting trio section. The scherzo was also standard in Romantic and post-Romantic symphonies and related genres. Because of the high degree of subjectivity in Romantic music, genres that stressed emotional content over abstract form developed rapidly. Some composers even wrote one-movement pieces entitled scherzo. These pieces became very important because they usually expressed a particular character or mood. The objective of my dissertation project is to research scherzo-like concertos, scherzo as single movements in larger forms, and scherzo as independent works. My first recital will consist of two concertos with a scherzo-like character. These are Mozart's Piano Concerto No. 9 i ?nl Major; K. 271 and Ravel's Piano Concerto in G Major. I will perform these works in December 2002 with a second piano. In addition, I will perform the Ravel with an orchestra in 2003. My second recital will consist of two parts. The fxst half presents multi-movement works with scherzo movements. The pieces are Haydn's Piano Sonata No. 3 in F Majol; Hob. WI/9, Beethoven's Piano Sonata No. 10 in G Major; Op. 14, No. 2. The second half presents independent four scherzi by Chopin. The final program will also include multi-movement works containing scherzo and independent scherzo. These are Prokofiev's Piano Sonata No. 2 in D minor, Op. 14, Grieg Lyric Pieces Op. 54, Schubert Zwei Scherzi D. 593 and Copland Scherzo humoristique; Le Chat et la Souris (The Cat and the Mouse).