ALD: adaptive layer distribution for scalable video

Bandwidth constriction and datagram loss are prominent issues that affect the perceived quality of streaming video over lossy networks, such as wireless. The use of layered video coding seems attractive as a means to alleviate these issues, but its adoption has been held back in large part by the inherent priority assigned to the critical lower layers and the consequences for quality that result from their loss. The proposed use of forward error correction (FEC) as a solution only further burdens the bandwidth availability and can negate the perceived benefits of increased stream quality. In this paper, we propose Adaptive Layer Distribution (ALD) as a novel scalable media delivery technique that optimises the tradeoff between the streaming bandwidth and error resiliency. ALD is based on the principle of layer distribution, in which the critical stream data is spread amongst all datagrams thus lessening the impact on quality due to network losses. Additionally, ALD provides a parameterised mechanism for dynamic adaptation of the scalable video, while providing increased resilience to the highest quality layers. Our experimental results show that ALD improves the perceived quality and also reduces the bandwidth demand by up to 36% in comparison to the well-known Multiple Description Coding (MDC) technique.

REQUIRED VIOLA REPERTOIRE FOR THE PRIMROSE COMPETITION AND THE TERTIS COMPETITION

William Primrose (1903-1982) and Lionel Tertis (1876-1975) made the viola a grand instrument for public performances of solo and chamber music throughout their long and active lives characterized by a common passion for the viola. I, too, have been deeply inspired by their passion for the viola. I chose, therefore, for my doctoral performance project to feature works for viola from the required repertoire of the William Primrose and Lionel Tertis competitions of 2001 and 2003, respectively. For purposes of the performances, I divided selections from the combined repertoire for the William Primrose and Lionel Tertis competitions into three recitals. The first recital included Sonata, Opus 120, No.2 in E-flat Major (1894) by Johannes Brahms; Sonata, Opus 147 (1975) by Dmitri Shostakovich; and Sonata (1919) by Rebecca Clarke. These pieces represent standard components of the general repertoire for both the Primrose and Tertis competitions. The second recital was comprised of two works dedicated by their composers to Primrose: Lachrymae, Opus 48 (1950) by Benjamin Britten; and Concerto (1945) by Bela Bartok. The third recital included three pieces dedicated by their composers to Tertis: Sonata (1922) by Arnold Bax; Sonata in C Minor (1905) by York Bowen; and Sonata (1952) by Arthur Bliss. The goal of my preparation for these recitals was to emphasize a variety of techniques and, also, the unique timbre of the viola. For example, the works I selected emphasized high-position technique, which was not much used before the nineteenth century, and featured the lowest string (the C-string), which provides a beautifully somber and austere sonority characteristic of the viola. For these reasons, the selected works provided not only attractive and interesting pieces to study and perform but were also of educational merit.

Long-term equity anticipation securities and stock market volatility dynamics

Recent empirical findings suggest that the long-run dependence in U.S. stock market volatility is best described by a slowly mean-reverting fractionally integrated process. The present study complements this existing time-series-based evidence by comparing the risk-neutralized option pricing distributions from various ARCH-type formulations. Utilizing a panel data set consisting of newly created exchange traded long-term equity anticipation securities, or leaps, on the Standard and Poor's 500 stock market index with maturity times ranging up to three years, we find that the degree of mean reversion in the volatility process implicit in these prices is best described by a Fractionally Integrated EGARCH (FIEGARCH) model. © 1999 Elsevier Science S.A. All rights reserved.

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD

At the end of the sixteenth century, Germany had become one of the most active centers of early Baroque music, and therefore Austro-German music came to dominate Western music. An investigation of violin works written during this period reveals the ways in which Austro-German compositions are extraordinary contributions to the violin repertoire. This research warranted further study and performance of these works in order to determine what influence these composers had on the violin repertoire as a whole. For my dissertation recital project, I trace the history of works for violin focusing the violin concerto repertoire in particular. A genre which remained popular throughout the century, the nineteenth-century concerto served primarily as a vehicle for virtuosic display of the violin and piano as never before. For my research I studied and performed works selected from the Baroque through the Romantic period in three recorded recitals with collaborative pianists Ilya Sinaisky, Sun-ha Yun, and Seyon Lee at the Gildenhorn Recital Hall, Clarice Smith Performing Arts Center. I selected particularly prominent pieces which represent the work of significant composers from each period. The composers discussed include Johann Sebastian Bach (1685-1750), owing to the fact that his works are the culmination of the Baroque era during the first half of the eighteenth century; from the Classical period, Wolfgang Amadeus Mozart (1756-1791) all of whom emerged mixing German and Italian traditions into his own style, and Ludwig van Beethoven (1770-1827), the bridge composer between the Classical and the Romantic periods; Romantic composers, Franz Schubert (1979-1828), Johannes Brahms (1833-1897), Robert Schumann (1810-1856), Felix Mendelssohn (1809-1847), and Max Bruch (1838-1920), all who tended to mix Classic and Romantic elements. As a violinist, I learned that their own original sound, rich harmonies and unique expression made these works worthy of becoming masterpieces. I have relished the opportunity for musical and professional growth in exploring these substantial compositions.

VARIATION FORMS: A SURVEY THROUGH FOUR CENTURIES OF VIOLIN REPERTOIRE

Variation, or the re-working of existing musical material, has consistently attracted the attention of composers and performers throughout the history of Western music. In three recorded recitals at the University of Maryland School of Music, this dissertation project explores a diverse range of expressive possibilities for violin in seven types of variation form in Austro-German works for violin from the 17th through the 20th centuries. The first program, consisting of Baroque Period works, performed on period instrument, includes the divisions on “John come kiss me now” from The Division Violin by Thomas Baltzar (1631 – 1663), constant bass variations in Sonate Unarum Fidium by Johann Heinrich von Schmelzer (1623 – 1680), arbitrary variation in Sonata for Violin and Continuo in E Major, Op. 1, No. 12 “Roger” by George Friedrich Händel (1685 – 1759), and French Double style, melodic-outline variation in Partita for Unaccompanied Violin in B Minor by Johan Sebastian Bach (1685 – 1750). Theme and Variations, a popular Classical Period format, is represented by the Sonata for Piano and Violin in G Major K. 379 by Wolfgang Amadeus Mozart (1756 – 1791) and Sonata for Violin and Piano in A Major, Op. 47 No. 9 the “Kreutzer” by Ludwig van Beethoven (1770 – 1827). Fantasy for Piano and Violin in C Major D. 934 by Franz Schubert (1797 – 1828) represents the 19th century fantasia variation. In these pieces, the piano and violin parts are densely interwoven, having equal importance. Many 20th century composers incorporated diverse types of variations in their works and are represented in the third recital program comprising: serial variation in the Phantasy for Violin and Piano Op.47 of Arnold Schoenberg (1874 – 1951); a strict form of melodic-outline variation in Sonate für Violine allein, Op. 31, No. 2 of Paul Hindemith (1895 – 1963); ostinato variation in Johan Halvorsen’s (1864 – 1935) Passacaglia for Violin and Viola, after G. F. Handel’s Passacaglia from the Harpsichord Suite No. 7 in G Minor. Pianist Audrey Andrist, harpsichordist Sooyoung Jung, and violist Dong-Wook Kim assisted in these performances.

A SURVEY OF FRENCH KEYBOARD MUSIC FROM 1880 TO 1950

French music flourished from the last quarter of the nineteenth century into the early twentieth century, especially in the genres of opera and orchestral music. Although French keyboard music enjoyed less popularity, being overshadowed by these predominant genres, prominent impressionist figures Claude Debussy (1862-1918) and Maurice Ravel (1875-1937) . . brought its revival to the French music. Scholars consider Debussy to be a frontrunner of Impressionism, and his influence had a major impact on subsequent composers. As a result of his popularity, other significant works by French composers seem to be overlooked by pianists and audiences and are not as often performed. Because keyboard works by Debussy and Ravel are a popular performance choice among pianists, I was eager to examine music by other French composers. Through my resea,rch, I found many great works that warranted further study and deserve a place in the keyboard repertoire. This recording project contains works by lesser-known French composers written between the years of 1880 and 1950, namely Emmanuel Chabrier (1841-1894), Gabriel-Urbain Faure (1845-1924), Charles Koechlin (1867-1950), Albert Roussel (1869-1937), Erik Satie (1866-1925), Francis Poulenc (1899-1963), Darius Milhaud (1892-1974), Robert Casadesus (1899-1972) and Henri Dutilleux (b.1916). Since piano repertoire is abundant, it is sometimes difficult to create a performance program. Therefore, it frequently becomes the default to choosing familiar repertoire rather than using the opportunity to expand the repertoire. As a pianist, I feel responsible to search for hidden musical treasures with which pianists and audiences alike are not so well acquainted. This recording project explores nine lesser-known French compositions written between 1880 and 1950. I expect this to be an opportunity to introduce both pianists and audiences to outstanding but unfamiliar works by French composers. This dissertation was recorded on two compact discs in Dekelboum Concert Hall at Clarice Smith Performing Arts Center of the University of Maryland. The recordings are archived in the University of Maryland Library.

Best in show

Review of end of year show 2008 at Royal College of Art.

Letter from Wilfred T. Grenfell Esq., M.R.C.S.

An account of of the 1892(?) voyage from Yarmouth to St John's, Newfoundland, Canada.

Notes and memoranda

Aphia pellucida, Day (Latrunculus pellucidus, Collett). Specialised organs seen in action Growth of fishes in aquarium Rearing of fish-larvae