Bridging the Divide Between the Soloist and the Ensemble Player

In conservatories and music schools, the general practice for an aspiring pianist is to focus on solo performance learning mainly solo repertoire. With the advent of the advanced degree in collaborative piano, pianists could submerge themselves in the study of duo sonatas, larger chamber music ensembles, and art song. The appearance of this degree was an important step in the development of pianists, as this kind of work requires specific training and focus to master the vast repertoire involved. However it also more clearly brought out the invisible divide separating the solo pianist from the collaborative pianist, a.k.a. the accompanist. While geniuses such as Bach, Beethoven and Brahms were known to compose and perform all types of music, the appearance of super stars such as Liszt and Paganini helped bring into being the term accompanist and since then music world has tacitly embraced this divide. The goal of my dissertational study is to show that this divide need not exist. The three recitals which comprise this dissertational project were all performed at the University of Maryland, the first on 12 November 2010 at Gildenhom Recital Hall, the second at Ulrich Recital Hall on 10 September 2011, and the third at Gildenhorn Recital Hall on 11 November 2011. The repertoire included Rachmaninoff Prelude in g# minor op. 32 no. 12 and Etude-Tableaux in Eb minor op. 29 no. 5, Brahms Sonata for Piano and Violin in d minor op. 108, Mendelssohn Piano Trio in d minor op. 49, Chopin Sonata No.2 in Bb minor, Franck Sonata for Piano and Violin, Prokofiev Piano Concerto no. 2 in g minor op. 16 with pianist Elizabeth Brown as orchestra, Beethoven Sonata for Piano and Violin in A op 47 (Kreutzer), and Paul Schoenfield Cafe Music. All works with violin and cello were performed with violinist Rebecca Racusin, and cellist Devree Lewis. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland(DRUM).

The Many Faces of Paul Hindemith

The purpose of this project is to present selected violin pieces by Paul Hindemith (1895-1963) against a backdrop of the diverse styles and traditions that he integrated in his music. For this dissertation project, selected violin sonatas by Hindemith were performed in three recitals alongside pieces by other German and Austro-German composers. These recitals were also recorded for archival purposes. The first recital, performed with pianist David Ballena on December 10, 2005, in Gildenhorn Recital Hall at the University of Maryland, College Park, included Violin Sonata Op.11, No. 1 (1918) by Paul Hindemith, Sonatina in D Major, Op. 137 (1816) by Franz Schubert, and Sonata in E-flat Major, Op.18 (1887) by Richard Strauss. The second recital, performed with pianist David Ballena on May 9, 2006, in Gildenhorn Recital Hall at the University of Maryland, included Sonata in E Minor, KV 304 (1778) by Wolfgang Amadeus Mozart, Sonata in E (1935) by Paul Hindemith, Romance for Violin and Orchestra No.1 in G Major (1800-1802) by Ludwig Van Beethoven, and Sonata for Violin and Piano in A minor, Op. 105 (1851) by Robert Schumann. The third recital, performed with David Ballena and Kai-Ching Chang on November 10, 2006 in Ulrich Recital Hall at the University of Maryland, included Violin Sonata Op.12 No.1 in D Major (1798) by Ludwig Van Beethoven, Sonata for Violin and Harpsichord No.4 in C Minor BWV 1017 (1720) by J.S. Bach, and Violin Sonata Op.11 No.2 (1918) by Paul Hindemith. For each of my dissertation recitals, I picked a piece by Hindemith as the core of the program then picked pieces by other composers that have similar key, similar texture, same number of movements or similar feeling to complete my program. Although his pieces used some classical methods of composition, he added his own distinct style: extension of chromaticism; his prominent use of interval of the fourth; his chromatic alteration of diatonic scale degrees; and his non-traditional cadences. Hindemith left behind a legacy of multi-dimensional, and innovative music capable of expressing both the old and the new aesthetics.

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.

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).

The Legacy of Oboist and Master Teacher, Robert Bloom

Robert Bloom (1908-1994) was legendary in the education and performance world. Often hailed as one of the last performers of the Golden Era of classical music and a favorite of conductors ranging from Stokowski to Stravinsky to Shaw, Bloom was an orchestral oboist and English hornist, oboe soloist, chamber musician, teacher (Eastman, Yale, Hartt, Manhattan School of Music, Juilliard and Philadelphia's University of the Arts), composer, conductor, editor of masterworks of the 18th century, and, as a founding member of the Bach Aria group, a seminal influence in the post-WWII revival of Baroque music in America. In The Robert Bloom Collection and the Art of Robert Bloom CD and video archives, we see what his musical ideals were in 1)18th-century performance practices, 2) writing new music for the instrument and commissioning new works, and 3) and transcribing music for the oboe and English horn. As an oboist, I believe it is important that Bloom's teachings, historical performance practices and ideas for expanding repertoire are propagated. Therefore, the works chosen for this dissertation illustrated this legacy. My recitals included 1) some of Bloom's published 18th-century baroque elaborations (his term for ornamentation), as well Baroque works which I have elaborated, 2) works written by him and by other oboists/composers (Labate, Roseman) as well as a flute/oboe duo that I commissioned by Dr. Marcus Maroney and 3) transcriptions by both Bloom and myself (Bach, Donizetti, Mendelssohn, Mozart, Handel, Schumann and Telemann). In these three dissertation recitals, I hope to have illustrated some of Robert Bloom's lasting contributions and impact on the oboe world, and to have demonstrated the potential for carrying forward this legacy by studying his teaching and emulating his example.

Evaluación del desempeño de tres cuchillas de corte y remoción de una sembradora para siembra directa sobre un suelo vertisol

El presente trabajo tuvo como objetivo evaluar el desempeno de tres cuchillas de corte y remoción en un suelo vertisol bajo siembra directa mediante la eficiencia de implantación y la velocidad de emergencia de un cultivo de soja. Las cuchillas utilizadas fueron: lisa, rippled y dura flute. La hipotesis de trabajo fue: la eficiencia de implantación y el dia medio a emergencia del cultivo de soja bajo siembra directa y en un suelo Vertisol son dependientes del tipo de cuchilla labrasurco que compone el tren de siembra de la sembradora. El ensayo se llevó a cabo en un establecimiento ubicado en el departamento de Gualeguaychu, sur de la Provincia de Entre Ríos, siendo sus coordenadas 32 grados 50 minutos 8.18 segundos latitud sur y 58 grados 40 minutos 05.69 segundos longitud oeste. Los principales resultados obtenidos señalan que el máximo logro, en cuanto al porcentaje de emergencia, se observa a los 13 días después de la siembra y luego hay una declinación en el stand de plantas hasta el dia 25 posterior a la siembra, siendo la cuchilla lisa la que mas se vio afectada. Las condiciones de alta humedad debido a las continuas precipitaciones sucedidas en el transcurso de la emergencia del cultivo afectaron el establecimiento de las plantulas de soja. Las conclusiones fueron: a) la cuchilla rippled produjo la mayor eficiencia de implantacion, b) la velocidad de emergencia de las plantas de soja fue superior en aquellas cuchillas que, ademas de cumplir con la función de cortar el rastrojo, generan una remoción de la línea de siembra, c) el día medio a emergencia resultó ser menor con la cuchilla dura flute, resultando ser mayor con la cuchilla lisa, d) donde se utilizó la cuchilla labrasurco lisa hubo una mayor muerte de plántulas por damping off.

Observational tests of interstellar methanol formation

Context. It has been established that the classical gas-phase production of interstellar methanol (CH3OH) cannot explain observed abundances. Instead it is now generally thought that the main formation path has to be by successive hydrogenation of solid CO on interstellar grain surfaces. Aims. While theoretical models and laboratory experiments show that methanol is efficiently formed from CO on cold grains, our aim is to test this scenario by astronomical observations of gas associated with young stellar objects (YSOs). Methods. We have observed the rotational transition quartets J = 2K – 1K of 12CH3OH and 13CH3OH at 96.7 and 94.4 GHz, respectively, towards a sample of massive YSOs in different stages of evolution. In addition, the J = 1-0 transitions of 12C18O and 13C18O were observed towards some of these sources. We use the 12C/13C ratio to discriminate between gas-phase and grain surface origin: If methanol is formed from CO on grains, the ratios should be similar in CH3OH and CO. If not, the ratio should be higher in CH3OH due to 13C fractionation in cold CO gas. We also estimate the abundance ratios between the nuclear spin types of methanol (E and A). If methanol is formed on grains, this ratio is likely to have been thermalized at the low physical temperature of the grain, and therefore show a relative over-abundance of A-methanol. Results. We show that the 12C/13C isotopic ratio is very similar in gas-phase CH3OH and C18O, on the spatial scale of about 40 arcsec, towards four YSOs. For two of our sources we find an overabundance of A-methanol as compared to E-methanol, corresponding to nuclear spin temperatures of 10 and 16 K. For the remaining five sources, the methanol E/A ratio is less than unity. Conclusions. While the 12C/13C ratio test is consistent with methanol formation from hydrogenation of CO on grain surfaces, the result of the E/A ratio test is inconclusive.

A structural analysis of G-quadruplex/ligand interactions

This focused review article discusses in detail, all available high-resolution small molecule ligand/G-quadruplex structural data derived from crystallographic and NMR based techniques, in an attempt to understand key factors in ligand binding and to highlight the biological importance of these complexes. In contrast to duplex DNA, G-quadruplexes are four-stranded nucleic acid structures folded from guanine rich repeat sequences stabilized by the stacking of guanine G-quartets and extensive Watson-Crick/Hoogsteen hydrogen bonding. Thermally stable, these topologies can play a role in telomere regulation and gene expression. The core structures of G-quadruplexes form stable scaffolds while the loops have been shown, by the addition of small molecule ligands, to be sufficiently adaptable to generate new and extended binding platforms for ligands to associate, either by extending G-quartet surfaces or by forming additional planar dinucleotide pairings. Many of these structurally characterised loop rearrangements were totally unexpected opening up new opportunities for the design of selective ligands. However these rearrangements do significantly complicate attempts to rationally design ligands against well defined but unbound topologies, as seen for the series of napthalene diimides complexes. Drawing together previous findings and with the introduction of two new crystallographic quadruplex/ligand structures we aim to expand the understanding of possible structural adaptations available to quadruplexes in the presence of ligands, thereby aiding in the design of new selective entities. (C) 2011 Elsevier Masson SAS. All rights reserved.

Touching at a Distance: Resistance, Tactility, Proxemics and the Development of a Hybrid Virtual/Physical Performance System

This is a paper about resistance and affordance as they relate to music-making in the most extended sense, and perhaps about empathy if this is understood as a capacity to ‘read’ the resistances and affordances of objects, bodies, people and environments. It proceeds from a set of broad working assumptions which inform one individual’s musical practice, via a description a musical-instrument making project which is a hybrid of physical and virtual elements and is designed to test those assumptions, to a speculative finale in which it is suggested that musicking might, in some circumstances, be regarded in itself as a form of resistance. It moves from the intimate and personal, through what might be regarded as local concerns to more global observation, prefiguring the structure of the performance system it describes: the Virtual-Physical Feedback flute

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.

Conformational Dynamics of the Human Propeller Telomeric DNA Quadruplex on a Microsecond Time Scale

The human telomeric DNA sequence with four repeats can fold into a parallel-stranded propeller-type topology. NMR structures solved under molecular crowding experiments correlate with the crystal structures found with crystal-packing interactions that are effectively equivalent to molecular crowding. This topology has been used for rationalization of ligand design and occurs experimentally in a number of complexes with a diversity of ligands, at least in the crystalline state. While G-quartet stems have been well characterised, the interactions of the TTA loop with the G-quartets are much less defined. To better understand the conformational variability and structural dynamics of the propeller-type topology, we performed molecular dynamics simulations in explicit solvent up to 1.5 µs. The analysis provides a detailed atomistic account of the dynamic nature of the TTA loops highlighting their interactions with the G-quartets including formation of an A:A base pair, triad, pentad and hexad. The results present a threshold in quadruplex simulations, with regards to understanding the flexible nature of the sugar-phosphate backbone in formation of unusual architecture within the topology. Furthermore, this study stresses the importance of simulation time in sampling conformational space for this topology.

Merula

Merula is a thirty-minute work for bass flute and electronics, commissioned by Icelandic flautist Kolbeinn Bjarnason. The premiere took place in the Belfast Festival at Queen’s in November 2012. A recording will be made in 2014. Further performances in Iceland, Norway and Poland are anticipated in 2014-15. I have given a research seminar on this work at Queen’s and will deliver it again at the University of Oxford during 2013-14.

Research Goals
1) To develop an effective means of notating live electronics in a manner that would sustain the work's performance history beyond the current generation of software
2) To apply the techniques of transcription and spectralism used in my composition, Perseid, using birdsongs as source material
3) To explore the problem of sustaining large-scale form in music that is primarily fast
4) To facilitate the emergence of the solo bass flute as an important solo instrument through the completion of a new large-scale work

Methodology
• Methodologies employed in this project included sound recording, sound analysis and transcription, extensive precompositional sketching, electroacoustic techniques of sound manipulation, designing complex live processes of sound transformation and spatialisation
• A considerable part of this work was collaboration with the flautist, both in SARC and Iceland. Mr. Bjarnason was involved all stages of the work, frequently recording source materials and helping to ensure the idiomatic nature of the flute writing.
• Developing a means of notating the live electronics. Building on a model suggested by Pierre Boulez in Anthemes 2 (1998), the score of this work includes a technical manual that describes electronic processes in a manner that can be reprogrammed in subsequent generations of software. Combined with a system of notations employed in the full score, the technical manual will enable this composition to be performed by a wide range of performers and technical teams, with appropriately identical results.

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.

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.