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.

The Influence of the Guatemalan Municipal Orchestra's Curriculum on the Social Relations of its Members

The purpose of this case study is to determine the influence of the curriculum used by the Guatemalan Municipal Orchestra (GMO) upon the social interactions of its members. Social interactions include relations with families, teachers, and music colleagues. To determine this influence, the researcher framed the study using three main components: the impact of music in the development of children’s social skills; the curricula forming educational processes; and the characteristics of the Venezuela musical program, El Sistema. These foundations are explored via the tenets of participatory literacy. The data collection included interviews, surveys, and observation of students, parents, teachers, and administrative personnel. Two primary themes emerged from the data analysis: the development of a sense of community and the presence of intrinsic and external motivators implicit in the GMO environment. The final analysis suggests that curricular practices in the GMO positively influenced the development of students’ social interactions.

Hermes, a Concerto for Violoncello and Orchestra

This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.

TRPV4: Molecular Conductor of a Diverse Orchestra

Transient receptor potential vanilloid type 4 (TRPV4) is a calcium-permeable nonselective cation channel, originally described in 2000 by research teams led by Schultz (Nat Cell Biol 2: 695-702, 2000) and Liedtke (Cell 103: 525-535, 2000). TRPV4 is now recognized as being a polymodal ionotropic receptor that is activated by a disparate array of stimuli, ranging from hypotonicity to heat and acidic pH. Importantly, this ion channel is constitutively expressed and capable of spontaneous activity in the absence of agonist stimulation, which suggests that it serves important physiological functions, as does its widespread dissemination throughout the body and its capacity to interact with other proteins. Not surprisingly, therefore, it has emerged more recently that TRPV4 fulfills a great number of important physiological roles and that various disease states are attributable to the absence, or abnormal functioning, of this ion channel. Here, we review the known characteristics of this ion channel's structure, localization and function, including its activators, and examine its functional importance in health and disease.

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.

Map of the upper part of the Island of Manhattan above Eighty-Sixth Street arranged to illustrate the Battle of Harlem Heights.

Relief shown by hachures.

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.

Beethoven's Violinists: The Influence of Clement, Viotti, and the French School on Beethoven's Violin Compositions

Over the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another. The first recital was performed in Ulrich Recital Hall; the second and third recitals were performed in Gildenhorn Recital Hall at the University of Maryland. All three performances were collaborations with pianist, Hsiang-Ling Hsiao. A Recording of the first program can be found in the Digital Repository at the University of Maryland (DRUM). Recordings of the second and third recitals can be accessed at the University of Maryland Hornbake Library.

Nitrate in soil solution with use of plant cocktails as green manure in diferent tillage systems in the brazilian semi-arid

Tillage systems strongly affect nutrient transformations and plant availability. The objective of this study was to assess the nitrate dynamic in soil solution in different tillage systems with use of plant cocktail as green manure in fertilized melon (Cucumis melon) in Brazilian semi-arid. The treatments were arranged in four blocks in a split-plot design and included three types of cover crops and two tillage systems, conventional tillage (CT) and no-till (NT). The data showed no strong effect of plant cocktails composition on NO3-N dynamic in the soil. Mean concentration of NO3-N ranged from 19.45 mg L-1 at 15 cm to 60.16 mg L-1 at 50 cm soil depth, indicating high leachability. No significant differences were observed between NT and CT treatments for 15 cm depth. The high soil moisture content at ~ 30 cm depth concentrated high NO3-N in all treatments, mean of 54.27 mg L-1 to NT and 54.62 mg L-1 to CT. The highest NO3-N concentration was observed at 50 cm depth in TC (60.16 mg L-1). High concentration of NO3-N in CT may be attributed to increase in decomposition of soil organic matter and crop residues incorporated into the soil.

Dynamics of Granular Crystals with Elastic-Plastic Contacts

We study the behavior of granular crystals subjected to impact loading that creates plastic deformation at the contacts between constituent particles. Granular crystals are highly periodic arrangements of spherical particles, arranged into densely packed structures resembling crystals. This special class of granular materials has been shown to have unique dynamics with suggested applications in impact protection. However, previous work has focused on very low amplitude impacts where every contact point can be described using the Hertzian contact law, valid only for purely elastic deformation. In this thesis, we extend previous investigation of the dynamics of granular crystals to significantly higher impact energies more suitable for the majority of applications. Additionally, we demonstrate new properties specific to elastic-plastic granular crystals and discuss their potential applications as well. We first develop a new contact law to describe the interaction between particles for large amplitude compression of elastic-plastic spherical particles including a formulation for strain-rate dependent plasticity. We numerically and experimentally demonstrate the applicability of this contact law to a variety of materials typically used in granular crystals. We then extend our investigation to one-dimensional chains of elastic-plastic particles, including chains of alternating dissimilar materials. We show that, using the new elastic-plastic contact law, we can predict the speed at which impact waves with plastic dissipation propagate based on the material properties of the constituent particles. Finally, we experimentally and numerically investigate the dynamics of two-dimensional and three-dimensional granular crystals with elastic-plastic contacts. We first show that the predicted wave speeds for 1D granular crystals can be extended to 2D and 3D materials. We then investigate the behavior of waves propagating across oblique interfaces of dissimilar particles. We show that the character of the refracted wave can be predicted using an analog to Snell's law for elastic-plastic granular crystals and ultimately show how it can be used to design impact guiding "lenses" for mitigation applications.

University Symphony David Alexander Rahbee with Saeunn Thorsteinsdottir November 4, 2016

Concert Program

Nitrate and potassium concentration in fertigated soil cultivated with wine vines.

In the semiarid region of Brazil the use of irrigation systems for applying fertilizers in horticulture is the primary means for incorporating nutrients in the soil. However, this technique still requires its use in wine vines to be assessed. In view of this, this study aimed to assess nitrate and potassium concentrations in soil fertigated with nitrogen and potassium fertilizers in 3 wine grape growing cycles. A field experiment was conducted with ?Syrah? wine grapes, in Petrolina, Pernambuco, Brazil; it assessed five nitrogen doses (0, 15, 30, 60 and 120 kg ha-1) and five K2O doses (0, 15, 30, 60 and 120 kg ha-1) applied by drip irrigation system with two emitters per plant, with a flow rate of 4 L h-1. The experimental design used was the factorial split-plot, making up 13 combinations arranged in 4 randomized blocks. Soil solution samples were collected weekly with the aid of porous cup extractors for all treatments and at depths of 0.4 and 0.6 m by determining nitrate and potassium concentrations and electrical conductivity. Increased levels of both nutrients in the irrigation water increased the availability of nitrate and potassium in the soil solution. The highest nitrate and potassium concentrations were found in the second growing cycle at both depths studied.

Fertilizers with coated urea in upland rice production and nitrogen apparent recovery.

Urea is the most used N fertilizer for upland rice, however, a great percentage of N loss can occur with the use of this fertilizer. The use of products that provide reduction of N loss for urea fertilizers can contribute to increase N use efficiency. The objective of this study was to determine the effect of N rates applied in the form of coated urea in the content and accumulation of N in dry biomass, apparent recovery of nitrogen and grain yield of upland rice. The experimental design was a randomized complete blocks arranged in a 4 x 3 + 1 factorial scheme. The treatments consisted of four sources of N fertilizer [1. Common urea; 2. Polymer-coated urea for slow release of N (PCU); 3. urea with the urease inhibitor N-(n-Butyl) thiophosphoric triamide (NBPT); and 4. urea coated with copper sulfate and boric acid as urease inhibitors (UCCB)], with three fertilization rates (30, 60 and 90 kg ha-1 of N). In addition, we included a control treatment without N application. Coated urea did not provide increases in rice grain yield in relation to common urea. The increasing amount of N resulted in significant increases in rice grain yield (from 3217 to 5548 kg ha-1, 2010/11, and from 3392 to 4560 kg ha-1, 2011/12). The apparent nitrogen recovery rate decreased with the increase in N applied doses.

Egg Quality of Tegal Ducks in Intensive Keeping Feed with Different Levels of Methionine and Lancang (Atlanta sp.)

The purpose of this research is to study the effect of combination levels of methionine-lancang (Atlanta sp.) in diet on egg quality of Tegal ducks. Eighty-one Tegal ducks early production period were used in this research. The treatments were arranged in a factorial (3x3). The first factor was level of synthetic methionine supplement (M) comprised of  m1: 0,00%, m2: 0,05%, and m3: 0,10%. The second factor was level of lancang (L), i.e. l1: 0,0%, l2; 2,0%, and l3: 4,0%. The variables observed were eggshell-thickness, haugh unit, and egg index. The result showed that the average eggshell-thickness was 0,335 ± 0,002 mm, range between 0,317 to 0,337 mm. The average of haugh unit was 92,054 ± 2,906 range between 85,767 to 99,095, and average of egg index was 76,58 ± 2,91, range between 73,79-81,37%. The interaction of methionine-lancang did not have significant effect on eggshell thickness, haugh unit, and egg index during the first two months egg production. Level of methionine significantly different (P<0,05) the haugh unit, but did not affect eggshell thickness and egg index. Level of  lancang has affect (P<0,05) eggshell thickness significant, but did not significant affect the haugh unit, and egg index. It can be concluded that increasing of synthetic methionine in the diet until 0,10% can improve haugh unit, and increase of lancang until 4,0% can improve eggshell thickness. (Animal Production 4(2): 77-82 (2002) Key words : Egg Quality, Tegal Duck, Intensive, Methionine, Lancang