Snap-shot multispectral imaging of vascular dynamics in a mouse window-chamber model.

Understanding tumor vascular dynamics through parameters such as blood flow and oxygenation can yield insight into tumor biology and therapeutic response. Hyperspectral microscopy enables optical detection of hemoglobin saturation or blood velocity by either acquiring multiple images that are spectrally distinct or by rapid acquisition at a single wavelength over time. However, the serial acquisition of spectral images over time prevents the ability to monitor rapid changes in vascular dynamics and cannot monitor concurrent changes in oxygenation and flow rate. Here, we introduce snap shot-multispectral imaging (SS-MSI) for use in imaging the microvasculature in mouse dorsal-window chambers. By spatially multiplexing spectral information into a single-image capture, simultaneous acquisition of dynamic hemoglobin saturation and blood flow over time is achieved down to the capillary level and provides an improved optical tool for monitoring rapid in vivo vascular dynamics.

INNOVATIONS IN FRENCH CHAMBER MUSIC AND MÉLODIE (1886 – 1962) – A COLLABORATIVE PIANIST’S PERSPECTIVE

French chamber music in the last quarter of the nineteenth century displayed significant advances in musical innovations and technical developments. As the Parisian public began to favor instrumental music and mélodie over opera, vocal and chamber music with piano became one of the main genres to express French composers’ creativity and individuality. The composers Franck, Debussy, Fauré, Duparc, Ravel, Chausson and Poulenc were the major contributors to this unusually creative period in French music. French mélodies of this period blend precision with lyricism, and demand the performer’s elegance and wit. They show careful settings of the French language’s rhythmic subtleties and increased expressiveness in and importance of the piano accompaniment. The chamber works of this period demanded superior pianistic and instrumental virtuosity while displaying wide ranges of sonority, multiple tone colors, and rhythmic fluidity. The three recitals which comprise this dissertation project were performed at the University of Maryland Gildenhorn Recital Hall on 27 October 2006, All Nations Mission Church (Dayton, NJ) on 5 December 2009, and the Leah M. Smith Lecture Hall of the University of Maryland on 11 May 2010. The repertoire included Poulenc’s Sonata for Oboe and Piano (1962) with oboist Yeongsu Kim, French mélodies by Fauré, Chausson, Debussy, Ravel and Duparc with soprano Jung-A Lee and baritone Hyun-Oh Shin, Poulenc’s Sextet for Piano, Flute, Oboe, Clarinet, Bassoon and Horn (1932-1939) with flutist Katrina Smith, clarinetist Jihoon Chang, bassoonist Erich Heckscher, hornist Heidi Littman and oboist Yeongsu Kim, Debussy’s Sonata for Cello and Piano (1915) with cellist Ji-Sook Shin, Poulenc’s Sonata for Violin and Piano (1942-1949) with violinist Ji-Hee Lim, Franck’s Sonata for Violin and Piano (1886) with violinist Na-Young Cho, Ravel’s Piano Trio (1915) with cellist Ji-Sook Shin and violinist Yu-Jeong Lee and Ravel’s Sonata for Violin and Piano (1927) with violinist Yu-Jeong Lee. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

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).

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).

Tracing Neoclassical Influences in selected solo and chamber music for the clarinet

The musical period of Neoclassicism began in the 1920's, between the first and second world wars. It was initiated by French composers and eventually spread to other countries. One of the most important themes to emerge from the movement was to escape from the formless, rather emotional music of the Romantic era and instead, emphasize balance, order, objectivity and clarity in musical form. Many popular clarinet repertoires are enjoyed by performers and listeners because the music is enjoyable to play and easy to listen to. In particular, classically influenced clarinet music is quite interesting because it features musical elements from both the past and contemporary musical styles. For instance, some composers have integrated preexisting, more traditional styles of composition with lighter styles of modern culture such as popular music and Jazz. It is difficult to discover purely neoclassical clarinet repertoires even though many composers created their pieces during the neoclassical era. What we most commonly find are both neoclassical and non-neoclassical influences in compositions from that time period. Thus, I aim to trace the influence of neoclassicism in selected clarinet repertoires that exist today. It is my hope that increased awareness and knowledge about accessible clarinet music may encourage the general public to develop a deeper interest in a wider sphere of clarinet music, beyond what is considered popular today. The works performed and discussed in this dissertation are the following: (Recital I) Duo Concertante by Darius Milhaud; Sonata by Leonard Bernstein; Sonata for Two Clarinets by Francis Poulenc; Duos for Flute and Clarinet, Op. 34 by Robert Muczynski; Dance Preludes by Witold Lutoslawski, (Recital II) Sonatine by Arthur Honegger; Time pieces by Robert Muczynski; Suite for Clarinet, Violin and Piano by Darius Milhaud; Sonate for Clarinet, Flute and Piano by Maurice Emmanuel; Tarantelle for Flute, Clarinet and Piano, Op. 6 by Camille Saint-Saëns, (Recital III) Sonatina by Joseph Horovitz; Suite from L'histoire du Soldat for Clarinet, Violin and Piano by Igor Stravinsky; Contrasts for Clarinet, Violin and Piano by Béla Bartók The recitals that took place on December 1, 2012 and on April 25, 2013 were performed in the Ulrich Recital Hall of the Clarice Performing Arts Center in College Park, Maryland. The recital that took place on November 2, 2013 was performed at the Gildenhorn Recital Hall of the same performing arts center.

In situ measurement of UHF wearable antenna radiation efficiency using a reverberation chamber

The radiation efficiency and resonance frequency of five compact antennas worn by nine individual test subjects was measured at 2.45 GHz in a reverberation chamber. The results show that, despite significant differences in body mass, wearable antenna radiation efficiency had a standard deviation less than 0.6 dB and the resonance frequency shift was less than 1% between test subjects. Variability in the radiation efficiency and resonance frequency shift between antennas was largely dependant on body tissue coupling which is related to both antenna geometry and radiation characteristics. The reverberation chamber measurements were validated using a synthetic tissue phantom and compared with results obtained in a spherical near field chamber and finite-difference time-domain (FDTD) simulation.

Long-term graft survival in patients with flexible open-loop anterior chamber intraocular lenses

Purpose. To evaluate the long-term graft survival in patients with flexible open-loop anterior chamber intraocular lenses (AC IOL). Methods. We retrospectively reviewed the records of patients with aphakic/pseudophakic bullous keratopathy who underwent penetrating keratoplasty and flexible open-loop AC IOL implantation in our institution from 1983 to 1988. Results. 79 eyes from 77 patients were included in the study. Mean follow-up was 50 months (range 1 to 123 months). At last follow-up 61 eyes (77.2%) had clear grafts. Among them, the visual acuity was = 20/40 in 14 eyes (23.0%), 20/50-20/100 in 22 eyes (36.1%), 20/200-20/400 in 9 eyes (14.8%) and = CF in 16 (26.2%). Increment of glaucoma medications and/or glaucoma surgery was the most frequent complication (37 eyes, 46,8%). Cystoid macular edema was newly diagnosed in 10 eyes (12.7%). Conclusions. Flexible, open-loop anterior chamber lens are a viable option in the treatment of patients with aphakic or pseudophakic bullous keratopathy undergoing penetrating keratoplasty.

Long-term graft survival in patients with flexible open-loop anterior- chamber intraocular lenses

Purpose. To evaluate the long-term graft survival and complications of flexible, open-loop anterior-chamber intraocular lenses in patients with penetrating keratoplasty for pseudophakic or aphakic bullous keratopathy. Methods. We reviewed charts of all consecutive patients who underwent penetrating keratoplasty for pseudophakic or aphakic bullous keratopathy combined with implantation of a flexible, open-loop, anterior-chamber intraocular lens at our institution between 1983 and 1988. One-hundred one eyes of 99 patients were evaluated. Graft-survival rates were calculated by using the Kaplan-Meier actuarial method. Results. Mean follow-up was 49.8 months (range. 1-144). The probability of graft survival at 1, 2, 4, 6, and 8 years was 93, 87, 78, 65, and 65%, respectively. A total of 25 (24.8%) grafts failed. Progressive corneal edema without signs of rejection was the most common finding in patients with failed grafts (10 eyes, 40%). The most frequent complication observed was newly diagnosed or worsening of preexisting glaucoma (46 eyes, 45.5%). Conclusions. Our long-term results support flexible, open-loop anterior-chamber intraocular lenses as a reasonable option, at the time of penetrating keratoplasty, in patients with pseudophakic and aphakic bullous keratopathy.