Selected Violin Concertos: In Search of a Missing Link

My dissertation presented seven violin concertos in three recital programs. Three of these concertos are acknowledged masterpieces performed in established concert venues throughout the world. They are the concertos of Mozart, Beethoven and Tchaikovsky. The other four are less standard and are composed by Viotti, Kreutzer, Rode and Spohr. These less standard concertos were popular during their time yet they seem not to have stood the test of time. A curriculum devoted exclusively to the standard concertos creates problems for the young violinist. The Mozart violin concertos are often the first standard concertos that the young violin student encounters. They are considered to be the least technically demanding of the standard concertos. The next most advanced standard concertos that the student will usually encounter are Bruch’s G minor concerto, Wieniawski’s D minor concerto and Barber’s concerto. The trouble is that the work on Mozart concertos does not adequately prepare a student for the next most advanced standard concerto. There is a discontinuous leap in the progression of technical difficulty between the Mozart concertos and the next most advanced concertos. Likewise the standard concerto repertoire provides no smooth historical or stylistic progression between the Mozart concertos and the next most advanced concertos. If the young violinist is limited to the standard repertoire then she has no smooth progression either technical, historical or stylistic. I seek to demonstrate that, by adding concertos of Spohr, Viotti, Kreutzer, and Rode to the standard violin curriculum, one could remedy this problem. The first and third recitals were performed in the Gildenhorn Recital Hall and the second recital in the School of Music’s Smith Lecture Hall, both at the University of Maryland. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Formal function and phrase structure in contemporary music : Pierre Boulez’s late solo works and Sean Clarke’s "Lucretia Overture" and "4 Impromptus"

Cette thèse présente une théorie de la fonction formelle et de la structure des phrases dans la musique contemporaine, théorie qui peut être utilisée aussi bien comme outil analytique que pour créer de nouvelles œuvres. Deux concepts théoriques actuels aident à clarifier la structure des phrases : les projections temporelles de Christopher Hasty et la théorie des fonctions formelles de William Caplin, qui inclut le concept de l’organisation formelle soudée versus lâche (tight-knit vs. loose). Les projections temporelles sont perceptibles grâce à l’accent mis sur les paramètres secondaires, comme le style du jeu, l’articulation et le timbre. Des sections avec une organisation formelle soudée ont des projections temporelles claires, qui sont créées par la juxtaposition des motifs distincts, généralement sous la forme d'une idée de base en deux parties. Ces projections organisent la musique en phrases de présentation, en phrases de continuité et finalement, à des moments formels charnières, en phrases cadentielles. Les sections pourvues d’une organisation plus lâche tendent à présenter des projections et mouvements harmoniques moins clairs et moins d’uniformité motivique. La structure des phrases de trois pièces tardives pour instrument soliste de Pierre Boulez est analysée : Anthèmes I pour violon (1991-1992) et deux pièces pour piano, Incises (2001) et une page d’éphéméride (2005). Les idées proposées dans le présent document font suite à une analyse de ces œuvres et ont eu une forte influence sur mes propres compositions, en particulier Lucretia Overture pour orchestre et 4 Impromptus pour flûte, saxophone soprano et piano, qui sont également analysés en détail. Plusieurs techniques de composition supplémentaires peuvent être discernés dans ces deux œuvres, y compris l'utilisation de séquence mélodiques pour contrôler le rythme harmonique; des passages composés de plusieurs couches musicales chacun avec un structure de phrase distinct; et le relâchement de l'organisation formelle de matériels récurrents. Enfin, la composition de plusieurs autres travaux antérieurs a donné lieu à des techniques utilisées dans ces deux œuvres et ils sont brièvement abordés dans la section finale.

Evolution of strength and physical properties of ultramafic and carbonate rocks under hydrothermal conditions

Interaction of rocks with fluids can significantly change mineral assemblage and structure. This so-called hydrothermal alteration is ubiquitous in the Earth’s crust. Though the behavior of hydrothermally altered rocks can have planet-scale consequences, such as facilitating oceanic spreading along slow ridge segments and recycling volatiles into the mantle at subduction zones, the mechanisms involved in the hydrothermal alteration are often microscopic. Fluid-rock interactions take place where the fluid and rock meet. Fluid distribution, flux rate and reactive surface area control the efficiency and extent of hydrothermal alteration. Fluid-rock interactions, such as dissolution, precipitation and fluid mediated fracture and frictional sliding lead to changes in porosity and pore structure that feed back into the hydraulic and mechanical behavior of the bulk rock. Examining the nature of this highly coupled system involves coordinating observations of the mineralogy and structure of naturally altered rocks and laboratory investigation of the fine scale mechanisms of transformation under controlled conditions. In this study, I focus on fluid-rock interactions involving two common lithologies, carbonates and ultramafics, in order to elucidate the coupling between mechanical, hydraulic and chemical processes in these rocks. I perform constant strain-rate triaxial deformation and constant-stress creep tests on several suites of samples while monitoring the evolution of sample strain, permeability and physical properties. Subsequent microstructures are analyzed using optical and scanning electron microscopy. This work yields laboratory-based constraints on the extent and mechanisms of water weakening in carbonates and carbonation reactions in ultramafic rocks. I find that inundation with pore fluid thereby reducing permeability. This effect is sensitive to pore fluid saturation with respect to calcium carbonate. Fluid inundation weakens dunites as well. The addition of carbon dioxide to pore fluid enhances compaction and partial recovery of strength compared to pure water samples. Enhanced compaction in CO2-rich fluid samples is not accompanied by enhanced permeability reduction. Analysis of sample microstructures indicates that precipitation of carbonates along fracture surfaces is responsible for the partial restrengthening and channelized dissolution of olivine is responsible for permeability maintenance.

Generating Effective Test Suites for Model Transformations Using Classifying Terms

Generating sample models for testing a model transformation is no easy task. This paper explores the use of classifying terms and stratified sampling for developing richer test cases for model transformations. Classifying terms are used to define the equivalence classes that characterize the relevant subgroups for the test cases. From each equivalence class of object models, several representative models are chosen depending on the required sample size. We compare our results with test suites developed using random sampling, and conclude that by using an ordered and stratified approach the coverage and effectiveness of the test suite can be significantly improved.