The Evolution of Rachmaninov's Pianistic Style from 1892 to 1941 as Seen in Selected Original Works and Transcriptions for Piano

Unlike some other major composer-pianists (Franz Liszt and Alexander Scriabin being the most notable examples), Sergei Rachmaninov did not experience any dramatic changes in his compositional style; one can, however, notice certain stylistic differences between piano works composed during different periods of his long creative life. This dissertation argues that a clear evolution of Rachmaninov's pianistic style through his three creative periods can be traced by examining a selection of his compositions, from his first significant cycle for piano, 5 Marceaux de fantaisie, Op. 3 (1892), all the way through to his last piano work, a transcription of P.I.Tchakovsky's Lullaby, Op. 16, No. 1 (1941). Rachmaninov's life as a composer can be divided into three periods. His early period was ended abruptly by the disastrous premiere ofhis First Symphony in 1897, which caused a deep psychological crisis in the life of the young composer. Piano works of this period are often characterized by relatively simple homophonic texture, when Rachmaninov was clearly influenced by some of his Russian predecessors, most notably Tchaikovsky. His second and most productive period, also known as the period of"Russian maturity," started in 1900, when he began working on the Second Suite for two pianos, Op. 17, and the Second Concerto, Op. 18; this phase ended with the Russian Bolshevik revolution of 1917. Works of this time exhibit a mature style of piano writing, with rich, virtuosic - often considered excessive by many critics - texture and ever-increasing use of chromatic harmonies. Rachmaninov's works of the third period are limited in number owing to the composer's preoccupation with a career as pianist. Original works for piano now give way to revisions of earlier compositions and transcriptions: Rachmaninov's piano writing becomes more efficient and economical without losing any of its virtuosic brilliance. This dissertation project examines in detail, over the course of three piano recitals, a variety of works composed during the "Russian maturity" period, from several Preludes from Op. 23 (1903), the first major cycle for solo piano of the period, to 9 Etudes-Tableaux, Op.39 (1917), the last one; the early period is represented by 3 of 5 Marceaux defantaisie, Op. 3 (1892), while the late period is shown through several piano transcriptions and revised versions of the remaining 2 pieces from Op. 3.

AMERICAN WOMEN COMPOSERS: SELECTED PUBLISHED WORKS FOR FLUTE AND PIANO AND FOR UNACCOMPANIED FLUTE COMPOSED BETWEEN 1930 AND 2008

The music of women composers often comprises only a small percentage of flutists‘ repertoire, yet there are actually many active women composers, many of whom have written for the flute. The aim of this dissertation is to chronicle a selection of works by several American women composers that have contributed to accessible flute repertoire. For the purpose of this dissertation, accessibility is described by the following parameters: works that limit the use of extended techniques, works that are suitable for performers from high school through a reasonably advanced level, works that are likely to elicit emotionally musical communication from the performer to the listener, and works that are reasonably available through music stores or outlets on the Internet that have a fairly comprehensive reach to the general public. My subjective judgment also played a role in the final selection of the 25 works included as part of this dissertation, and performed on three musically well-balanced recitals. A variety of resources were consulted for the repertoire, including Boenke‘s Flute Music by Women Composers: An Annotated Catalog, and the catalogs of publishers such as Arsis Press and Hildegard Publishing, both of which specialize in the music of women composers. The works performed and discussed are the following: Adrienne Albert – Sunswept; Marion Bauer – Prelude and Fugue, Op. 43.; Marilyn Bliss – Lament; Ann Callaway – Updraft; Ruth Crawford – Diaphonic Suite; Emma Lou Diemer – Sonata; Vivian Fine – Emily’s Images; Cynthia Folio – Arca Sacra; Nancy Galbraith – Atacama; Lita Grier – Sonata; Jennifer Higdon – The Jeffrey Mode; Edie Hill – This Floating World; Katherine Hoover – Masks; Mary Howe – Interlude between Two Pieces; Laura Kaminsky – Duo; Libby Larsen – Aubade; Alex Shapiro – Shiny Kiss; Judith Shatin – Coursing Through the Still Green; Faye-Ellen Silverman – Taming the Furies; Augusta Read Thomas – Euterpe’s Caprice; Joan Tower – Valentine Trills; Ludmila Ulehla – Capriccio; Elizabeth Vercoe – Kleemation; Gwyneth Walker – Sonata; and Judith Lang Zaimont – ‘Bubble-Up’ Rag. All of these works are worthy alternatives to the more frequently played flute repertoire, and they serve as a good starting point for anyone interested i n exploring the works of women composers.

PIANIST-COMPOSERS WHOSE WORKS INCLUDE PIANISTIC INNOVATIONS

Throughout the piano’s history, certain composers have created innovations in the areas of virtuosity and sonority. These innovations came not only from the composers’ imagination, but also from the development of instruments and changes in musical style from one period to another. To investigate what kinds of innovations these pianist composers made, I divided them into technique and sound from Mozart to Cowell. I chose two-piano music (Sonata in D major, K.448 by Mozart and Rachmaninoff’s Second Suite) to demonstrate their experiments with varieties of textures and sonorities, using different registers of the two pianos orchestrally. En Blanc et noir by Debussy shows this composer’s deep interest and originality in piano sonorities. For solo piano music, Beethoven’s Piano Sonata Op.53 shows extensive technical invention. His use of long pedal effects shows a pianistic possibility not explored by Mozart. Hummel’s Piano Sonata in D major represents orchestral devices as well as pianistic techniques showing recent developments in the instrument. Chopin’s Ballade No.3 and Scherzo No.3 show virtuosic moments and also the expanded range of the keyboard. His Nocturne Op.27, no.2, with its sonorities resulting from the combination of pedal, and widespread accompaniments derived from Alberti bass figures, is a perfect example of Chopin’s characteristic sound-world. “Vallée d’Obermann” by Liszt uses many virtuosic techniques as well as the extreme wide ranges of keyboard in both hands to create dramatic contrasts of texture. Debussy’s etude, “Pour les Sonorités opposés” is probably the first etude designed for sonority rather than for keyboard virtuosity. Albeniz’s “Evocación” and “Triana” show Spanish atmosphere. Prokofiev’s Sonata no.3 shows frequent motoric driving elements that demand percussive virtuosity. Cowell’s piano music is some of the earliest to explore the sonorities of tone clusters and playing on the strings. This performance dissertation consists of three recitals performed in the Orchestra Room, Leah Smith Hall, and Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

SCHUBERT’S WINTERREISE AND THE PIANO TRIO IN Eb; TWO REMARKABLE WORKS FROM ONE REMARKABLE YEAR – 1827: A RECORDING PROJECT

During Franz Schubert’s penultimate year of 1827, he produced two profoundly important and mature works that are the focus of this recording project. The works are, in chronological order: • Winterreise (cycle of 24 songs on the poetry of Wilhelm Müller, 1794-1827) • Piano Trio in Eb Major, Op. 100, D. 929 A unique feature of the project is to present Winterreise in two poetic orders: as traditionally performed and published by Schubert, and in the final ordering published by the poet. The program notes accompanying the dissertation’s three compact discs have extensive information as well as comparative tables of Müller’s and Schubert’s final ordering of the cycle. There are significant differences in ordering, and ultimately the listener will determine which is more dramatically satisfying. Dark melancholy is the central emotion in Winterreise, which Schubert composed at various times throughout 1827 in a mood of corresponding gloom and distress. By contrast, the summer and fall of that year produced, in quick succession, the two glowing and remarkable Piano Trios in Bb and Eb, the second of which is included on these compact discs. The contrast between the trios and Winterreise follows the outward circumstances of Schubert’s life and health, a pattern of sorrow and later consolation and elation. The sound recordings for this dissertation recording project are available on three compact discs that can be found in the Digital Repository at the University of Maryland (DRUM). Winterreise was recorded in August 2009, at the University of Baltimore recital hall in Baltimore, Maryland with University of Maryland Professor François Loup. The trio, recorded in live performance in Baltimore in the spring of 2010, features two members of the Baltimore Symphony Orchestra: Qing Li, B.S.O. principal second violin, and Bo Li, B.S.O. section cellist.

SELECTED ACCOMPANIED AND UNACCOMPANIED FLUTE WORKS OF RIVIER, BOZZA, AND FRANCAIX

A great deal of flute music written during the twentieth century was the product of French composers for French flutists. Through the course of the century some composers and compositions made it into the standard repertory while the flute works of Rivier, Bozza, and Francaix remained on the periphery. (The composers are listed and discussed chronologically based on date of birth rather than alphabetically.) This dissertation focuses on the accompanied and unaccompanied flute works of these men. It seeks to bring to light works that are almost totally unknown, and places them in relation to the works that have made it into the secondary repertory. The pieces chosen for this project represent each period of the composers' output in relation to the flute works. This dissertation follows the stylistic and technical traits found in the flute works of each composer and, when appropriate, compares the traits among the composers. The following is a list of the works performed: Rivier's Oiseaux tendres, Sonatine, Concerto, Ballade, Virevoltes, Trois Silhouettes, Comme une tendre berceuse . ..; Bozza's Image, Aria, Divertissement op. 39, Soir dans les montagnes, Trois Impressions, Concertina da camera, Cinq Chansons sur des themes Japonais, Phorbeia; Francaix's Divertimento, Concerto, Suite, and Sonate. The written part of this performance dissertation includes biographical information on each composer, program notes for each piece performed, a discography, and a selected bibliography.

Reminders, Refugees, and Ramadan: Characterizing Missed Immunization Appointments among Palestinian Refugees in Jordan

There are currently over two million Palestinian refugees residing in Jordan, 370,000 of whom reside in refugee camps. Due to conflict-affiliated disease outbreaks among children in the region, the UN Relief and Works Agency for Palestine Refugees (UNRWA) has identified incomplete vaccination as a critical public health issue and has invested in the development and implementation of a text message reminder service for preventing loss-to-follow-up. Childhood immunization rates in UNRWA catchment regions are generally high, yet little is known about risk factors for missed appointments, which impose a substantial administrative burden due to the need to contact patients for rescheduling. Stronger user characterization is necessary for improved targeting and minimized cost as we develop a more robust SMS system capable of scaling across all health facilities.

This mixed-methods study prospectively recorded 6 months of immunization history among a cohort of children born in June 2014 at Taybeh Health Center in Amman. Demographic information was collected at the time of birth, and caregivers of cohort members were invited to participate in interviews that assessed immunization knowledge, preferences, decision-making, and experience with the SMS reminder system. Patients were more likely to significantly delay appointments during the Ramadan holiday and for doses further from the child date of birth. Future policies that might bridge these gaps include targeting pre-appointment SMS reminders to high-risk patients, implementing holiday shifts in clinic hours, and regularly updating patient contact information.

VIRTUOSIC ELEMENTS IN THE COLLABORATIVE PIANIST’S REPERTOIRE: SELECTED SOLO, VOCAL, AND CHAMBER WORKS OF RACHMANINOFF AND RAVEL

This dissertation project explores some of the technical and musical challenges that face pianists in a collaborative role—specifically, those challenges that may be considered virtuosic in nature. The material was chosen from the works of Rachmaninoff and Ravel because of the technically and musically demanding yet idiomatic piano writing. This virtuosic piano writing also extends into the collaborative repertoire. The pieces were also chosen to demonstrate these virtuosic elements in a wide variety of settings. Solo piano pieces were chosen to provide a point of departure, and the programmed works ranged from vocal to two-piano, to sonatas and a piano trio. The recitals were arranged to demonstrate as much contrast as possible, while being grouped by composer. The first recital was performed on April 24, 2009. This recital featured five songs of Rachmaninoff, as well as three solo piano preludes and his Suite No. 2 for two pianos. The second recital occurred on November 16, 2010. This recital featured the music of both Rachmaninoff and Ravel, as well as a short lecture introducing the solo work “Ondine” from Gaspard de la nuit by Ravel. Following the lecture were the Cinq mélodies populaires grecques and the program closed with the substantial Rachmaninoff Sonata for Cello and Piano. The final program was given on October 10, 2011. This recital featured the music of Ravel, and it included his Sonata for Violin and Piano, the Debussy Nocturnes transcribed for two pianos by Ravel, and the Piano Trio. The inclusion of a transcription of a work by another composer highlights Ravel’s particular style of writing for the piano. All of these recitals were performed at the Gildenhorn Recital Hall in the Clarice Smith Performing Arts Center at the University of Maryland. The recitals are recorded on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Structured Illumination Microscopy and a Quantitative Image Analysis for the Detection of Positive Margins in a Pre-Clinical Genetically Engineered Mouse Model of Sarcoma.

Intraoperative assessment of surgical margins is critical to ensuring residual tumor does not remain in a patient. Previously, we developed a fluorescence structured illumination microscope (SIM) system with a single-shot field of view (FOV) of 2.1 × 1.6 mm (3.4 mm2) and sub-cellular resolution (4.4 μm). The goal of this study was to test the utility of this technology for the detection of residual disease in a genetically engineered mouse model of sarcoma. Primary soft tissue sarcomas were generated in the hindlimb and after the tumor was surgically removed, the relevant margin was stained with acridine orange (AO), a vital stain that brightly stains cell nuclei and fibrous tissues. The tissues were imaged with the SIM system with the primary goal of visualizing fluorescent features from tumor nuclei. Given the heterogeneity of the background tissue (presence of adipose tissue and muscle), an algorithm known as maximally stable extremal regions (MSER) was optimized and applied to the images to specifically segment nuclear features. A logistic regression model was used to classify a tissue site as positive or negative by calculating area fraction and shape of the segmented features that were present and the resulting receiver operator curve (ROC) was generated by varying the probability threshold. Based on the ROC curves, the model was able to classify tumor and normal tissue with 77% sensitivity and 81% specificity (Youden's index). For an unbiased measure of the model performance, it was applied to a separate validation dataset that resulted in 73% sensitivity and 80% specificity. When this approach was applied to representative whole margins, for a tumor probability threshold of 50%, only 1.2% of all regions from the negative margin exceeded this threshold, while over 14.8% of all regions from the positive margin exceeded this threshold.

SELECTED ICONIC CHAMBER MUSIC WORKS WITH PIANO FROM THE NINETEENTH AND TWENTIETH CENTURIES

Chamber music repertoire featuring the piano blossomed from the mid-nineteenth through the early twentieth century. The quantity of works increased greatly during this time and the quality of these works reached the highest level. Among the many symbolic works that were composed were sonatas for a single string instrument with piano, piano trios, quartets: and quintets as well as two-piano works and four-hand duets. Being able to study and perform many of these iconic works before I graduated was one of the major goals I set for myself as a collaborative pianist. The abundance of repertoire has made it easy to choose works considered "iconic" for my dissertation's three recitals. Iconic is defined as "very famous or popular, especially being considered to represent particular opinions or a particular time" in the online Cambridge Advanced Leamer's Dictionary & Thesaurus © Cambridge University. The compositions featured in the recitals were composed from 1842 through 1941, including works by Schumann, Brahms, Faure, Rachmaninoff, Ravel, and Lutoslawski. Choosing the repertoire with my fellow performers in mind was an important part of this dissertation. In addition to trying to make balanced programs which include variety, working with different instruments and performers is one of the most fulfilling parts of the musical experience for me as a collaborative pianist. Joining me for the concerts were members of the Aeolus String Quartet (violinist Nicholas Tavani, violinist Rachel Shapiro, violist Greg Luce, and cellist Alan Richardson), pianist Hsiao-Ying Lin (a doctoral student from the Peabody Conservatory), and my colleagues from the Peabody Institute Preparatory Division (faculty violinist Dr. Christian Tremblay and cellist Alicia Ward), and Derek Smith, Associate Principal violist of the Annapolis Symphony Orchestras). The three recitals were performed in the Gildenhom and Ulrich Recital Halls at the University of Maryland, College Park, Maryland. They are recorded on CD and available on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Accounting for Posttraumatic Stress Disorder Symptom Severity With Pre- and Posttrauma Measures: A Longitudinal Study of Older Adults.

Using data from a longitudinal study of community-dwelling older adults, we analyzed the most extensive set of known correlates of PTSD symptoms obtained from a single sample to examine the measures' independent and combined utility in accounting for PTSD symptom severity. Fifteen measures identified as PTSD risk factors in published meta-analyses and 12 theoretically and empirically supported individual difference and health-related measures were included. Individual difference measures assessed after the trauma, including insecure attachment and factors related to the current trauma memory, such as self-rated severity, event centrality, frequency of involuntary recall, and physical reactions to the memory, accounted for symptom severity better than measures of pre-trauma factors. In an analysis restricted to prospective measures assessed before the trauma, the total variance explained decreased from 56% to 16%. Results support a model of PTSD in which characteristics of the current trauma memory promote the development and maintenance of PTSD symptoms.

Structural and thermodynamic characterization of pre- and postpolymerization states in the F4 fimbrial subunit FaeG.

Enterotoxigenic Escherichia coli expressing F4 fimbriae are the major cause of porcine colibacillosis and are responsible for significant death and morbidity in neonatal and postweaned piglets. Via the chaperone-usher pathway, F4 fimbriae are assembled into thin, flexible polymers mainly composed of the single-domain adhesin FaeG. The F4 fimbrial system has been labeled eccentric because the F4 pilins show some features distinct from the features of pilins of other chaperone-usher-assembled structures. In particular, FaeG is much larger than other pilins (27 versus approximately 17 kDa), grafting an additional carbohydrate binding domain on the common immunoglobulin-like core. Structural data of FaeG during different stages of the F4 fimbrial biogenesis process, combined with differential scanning calorimetry measurements, confirm the general principles of the donor strand complementation/exchange mechanisms taking place during pilus biogenesis via the chaperone-usher pathway.

Brotado pre cosecha y pre germinado en cebada cervecera : predicción de la susceptibilidad del cultivo basada en el ambiente y manejo pos cosecha de los granos dañados

El grano de cebada cervecera (Hordeum vulgare L.) debe conservar su capacidad germinativa para poder ser malteado. El brotado pre-cosecha (BPC) y el pre-germinado obstaculizan la consecución de este objetivo. El objeto de esta tesis fue desarrollar conocimientos y herramientas tecnológicas que permitan manejar la susceptibilidad a estas adversidades en pre- y pos-cosecha del cultivo. Se evaluó el efecto del ambiente durante el llenado de granos sobre la dinámica de salida de la dormición y la susceptibilidad a BPC del cultivo y se estudiaron relaciones entre el nivel de pregerminado y la longevidad potencial (Ki) de lotes de cebada, en los principales cultivares comerciales de uso actual en Argentina. Ni la disponibilidad de nitrógeno del suelo ni el fotoperíodo medio durante el llenado tuvieron efectos sobre el nivel de dormición de los granos y la susceptibilidad a BPC del cultivo. La baja disponibilidad hídrica durante el llenado y las altas temperaturas imperantes durante las últimas etapas de este período aumentaron la susceptibilidad a BPC en todos los cultivares con resistencia intermedia a brotado, existiendo interacción entre ambos factores ambientales. Se desarrollaron modelos predictivos de la susceptibilidad a BPC basados en los efectos del ambiente térmico, para cada cultivar. Si la susceptibilidad es alta y existe pronóstico de lluvias el productor de cebada puede anticipar la cosecha y secar artificialmente. El pre-germinado no afectó la viabilidad inicial pero sí la longevidad potencial de los lotes de cebada. Se encontraron asociaciones positivas entre este último parámetro y el valor de Falling Number de los lotes. Esto permite la predicción de la viabilidad de un lote de cebada durante su almacenamiento en la maltería, y el diseño de las condiciones de almacenaje según el nivel de daño por pre-germinado y los requerimientos de la industria

Susceptibilidad a Fusarium verticillioides, Gibberella zeae y Diplodia maydis en líneas e híbridos pre-comerciales de maíces templados y tropicales

Las podredumbres de espiga (causada por Fusarium verticillioides y Gibberella zeae) y tallo (causada por F.verticillioides) provocan importantes pérdidas de rendimiento y calidad del grano en maíz (Zea mays L.), por lo que es importante mantener actualizado el conocimiento sobre la variabilidad genotípica de la especie para la tolerancia a las mismas así como la posible relación entre la presencia de una y otra podredumbre. Con estos objetivos se evaluaron (i) 438 líneas y 84 híbridos precomerciales de origen templado para resistencia a ambas podredumbres, y (ii) 84 líneas de origen templado y tropical para resistencia a podredumbre de la espiga por Diplodia maydis. Ambos ensayos fueron conducidos en un DBCA en Fontezuela (33.9 ºS, 60.47º O), Argentina, durante 2009-2010. Los tratamientos empleados fueron inoculación artificial e infección natural. Se encontraron diferencias significativas entre ambas para incidencia (I: porcentaje de plantas afectadas en el surco), Severidad (S: porcentaje promedio de podredumbre de las espigas sobre el total de espigas afectadas) y S×I, tanto para híbridos como para líneas. Existió una correlación positiva entre el tratamiento control sin inocular y el inoculado para todas las enfermedades. Se detectó una pequeña influencia de los caracteres morfológicos de la espiga y el grano sobre la resistencia a podredumbre de espiga por F.verticillioides y D. maydis, respectivamente. No se encontró G. zeae en el control, por lo que no pudieron realizarse los análisis correspondientes para esta enfermedad. La asociación entre el tratamiento inoculado con fusariosis de espiga y el control para fusariosis de tallo, y viceversa, nunca fue consistente, por lo tanto puede emplearse un tratamiento como control del otro. Los materiales de origen tropical fueron más resistentes a D. maydis que los templados, aunque las diferencias entre grupos heteróticos no resultaron altamente significativas. Se determinó que la inoculación artificial empleando infección natural como control es una práctica recomendable en el mejoramiento de maíz por resistencia a enfermedades. La inoculación artificial puede generar mayor variación en las respuestas, permitiendo observar y comparar el comportamiento de distintos materiales frente a la infección de patógenos.

Efecto de las condiciones ambientales durante el desarrollo, maduración y almacenamiento sobre la dormición en semillas de quinoa (Chenopodium quinoa Willd) con tolerancia potencial al brotado pre - cosecha

El brotado pre-cosecha es uno de los problemas que limitan la expansión del cultivo de quínoa (Chenopodium quinoa Willd.) hacia regiones húmedas. Esta tesis evalúa el comportamiento germinativo de dos accesiones con dormición, 2-Want y Chadmo, en la región de la Pampa Húmeda Argentina, combinando ambientes de cultivo (fechas de siembra), almacenamiento e incubación. El objetivo principal fue determinar el efecto de factores ambientales, hormonales y estructurales sobre los patrones de cambio en el nivel de dormición de semillas de quínoa durante su desarrollo, maduración y almacenamiento post cosecha. Ambas accesiones presentaron dormición durante el período de desarrollo-maduración de las semillas, aunque la temperatura de incubación condicionó su expresión (mayor a menor temperatura) en 2-Want. Condiciones de mayor fotoperíodo y temperatura durante esta etapa determinaron mayores niveles de dormición. Se confirmó el papel de las cubiertas seminales en su imposición, y se informa por primera vez la presencia de dormición embrionaria en quínoa. Se propone como hipótesis que una variación en el espesor de las cubiertas en respuesta al ambiente materno regula la difusión de ABA fuera de la semilla durante la incubación, y este mecanismo participa en la modulación del nivel de dormición. La salida de dormición posterior en almacenamientos con baja humedad resultó más rápida a temperaturas altas, asociado con la pérdida de sensibilidad al ABA, que condiciona también el requerimiento de giberelinas para germinar. Un mecanismo particular retrasó la salida de dormición ante temperaturas bajas de almacenamiento más incubación; una exposición a temperaturas elevadas sería necesaria para superar ese bloqueo. Chadmo mostró un nivel de dormición superior en todas las situaciones evaluadas, esto permite inferir un alto grado de tolerancia al brotado ante diversas circunstancias en la zona pampeana, por ello se la sugiere como mejor candidata para su inclusión en programas de mejoramiento adaptativo en quínoa.