THE GREAT RUSSIAN PIANO TRADITION: SELECTED REPERTOIRE BY TCHAIKOVSKY, RACHMANINOFF AND PROKOFIEV

This dissertation explores representative piano music by three great Russian composers: Tchaikovsky, Rachmaninoff and Prokofiev. The areas of research include: 1) the short character piece; 2) the Russian piano transcription tradition; 3) the concerto and sonata cycle; 4) extra-musical imagery; 5) the influence of popular and dance music of the period. Perhaps the most important result of this research is learning how the art of incorporating a singing quality at the piano stands at the center of Russian pianistic heritage. The first recital features compositions by Sergei Prokofiev. The Seventh Sonata exhibits rebellious, uncompromisingly dissonant treatment of its musical content. Ten Pieces from "Cinderella" shows an ascetic approach to piano texture - a common characteristic in Prokofiev's late works. The Third Concerto is Prokofiev's masterpiece in the genre. One of the 20th century's most performed concerti, it overflows with pianistic challenges. For my second dissertation recital, I have chosen Peter Ilich Tchaikovsky's The Seasons. These short character pieces were inspired by literary sources. The text portrays Russian rural life, nature, moments of intimate reflection, and imaginary experiences and impressions. Tchaikovsky's gift as a melodist and remarkable musical individualist is represented in his two Nocturnes as well as in the Nutcracker Suite, masterfully transcribed by Mikhail Pletnev. The final program features Sergei Rachmaninoff's Ten Preludes, Op. 23, regarded as a culmination of the turn-of-the-century grand Russian pianistic style. The Fantasy Pieces helped establish Rachmaninoff's reputation as a pianist-composer, a profoundly lyrical poet of the piano. The three Rachmaninoff transcriptions, the Minuet, the Hopak and the Polka de W.R. preserve the spirit of the Golden Era's musical salon. These pieces were written to delight and dazzle audiences with their bold character, musical taste, virtuosic tricks and technical finesse. The three recitals comprising this dissertation were presented in Gildenhorn Recital at the University of Maryland School of Music on November 13, 2010, April 11, 2011 and February 27, 2012. 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 PIANO FANTASY FROM BACH TO DANIELPOUR

The Fantasy, as the term suggests, is a genre that composers have found congenial for exploring innovative and imaginative processes. Works in this genre are numerous in the solo piano literature, and extend even to works for piano and orchestra and to chamber music with piano. I was curious to explore how a specific genre of music maintained similar characteristics but evolved over time. A fantasy is primed to be inventive and I wanted to see how composers from different eras and backgrounds would handle their material in this genre. I have learned that composers worked through formal developments while making innovations within this genre. The heart of my dissertation is presented through the recording project. Because ofthe abundance ofpiano fantasies, many works had to be excluded from this project for time's sake. On two compact discs, I have recorded approximately two hours of solo piano music. I have included some shorter fantasies to magnify significant developments from era to era, country to country, and composer to composer. The first disc has recordings of eighteenth and nineteenth-century fantasies: Chromatic Fantasy and Fugue, BWV 903 by J.S. Bach (1685-1750); Fantasia inC major, H. XVII, 4 by Franz Joseph Haydn (1732-1809); Fantasy inc minor, K. 475 by Wolfgang Amadeus Mozart (1756- 1791); Fantasia inf-sharp minor, Op. 28 by Felix Mendelssohn (1809-1847); and Polonaise-Fantaisie in A-flat major, Op. 61 by Frederic Chopin (1810-1849). On the second disc I have included mid-19th, 20th and 2151-century piano fantasies: Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt (1811-1886); Fantasia Baetica by Manuel de Falla (1876-1946); Three Fantasies by William Bergsma (1921-1994); Fantasy, Aria and Fugue by Frederic Goossen (1927-2011); and Piano Fantasy ("Wenn ich einmal sol! scheiden") by Richard Danielpour (b. 1956). The accompanying document includes program notes for each of the pieces recorded. They were recorded on a Steinway "D" in Dekelboum Concert Hall at the University of Maryland by Antonino D'Urzo ofOpusrite Productions. This document is available in the Digital Repository at the University of Maryland and the CO's are available through the Library System at the University of Maryland.

Multi-program benchmark definition

© 2015 IEEE.Although definition of single-program benchmarks is relatively straight-forward-a benchmark is a program plus a specific input-definition of multi-program benchmarks is more complex. Each program may have a different runtime and they may have different interactions depending on how they align with each other. While prior work has focused on sampling multiprogram benchmarks, little attention has been paid to defining the benchmarks in their entirety. In this work, we propose a four-tuple that formally defines multi-program benchmarks in a well-defined way. We then examine how four different classes of benchmarks created by varying the elements of this tuple align with real-world use-cases. We evaluate the impact of these variations on real hardware, and see drastic variations in results between different benchmarks constructed from the same programs. Notable differences include significant speedups versus slowdowns (e.g., +57% vs -5% or +26% vs -18%), and large differences in magnitude even when the results are in the same direction (e.g., 67% versus 11%).

Clinical utility of a Web-enabled risk-assessment and clinical decision support program.

PURPOSE: Risk-stratified guidelines can improve quality of care and cost-effectiveness, but their uptake in primary care has been limited. MeTree, a Web-based, patient-facing risk-assessment and clinical decision support tool, is designed to facilitate uptake of risk-stratified guidelines. METHODS: A hybrid implementation-effectiveness trial of three clinics (two intervention, one control). PARTICIPANTS: consentable nonadopted adults with upcoming appointments. PRIMARY OUTCOME: agreement between patient risk level and risk management for those meeting evidence-based criteria for increased-risk risk-management strategies (increased risk) and those who do not (average risk) before MeTree and after. MEASURES: chart abstraction was used to identify risk management related to colon, breast, and ovarian cancer, hereditary cancer, and thrombosis. RESULTS: Participants = 488, female = 284 (58.2%), white = 411 (85.7%), mean age = 58.7 (SD = 12.3). Agreement between risk management and risk level for all conditions for each participant, except for colon cancer, which was limited to those <50 years of age, was (i) 1.1% (N = 2/174) for the increased-risk group before MeTree and 16.1% (N = 28/174) after and (ii) 99.2% (N = 2,125/2,142) for the average-risk group before MeTree and 99.5% (N = 2,131/2,142) after. Of those receiving increased-risk risk-management strategies at baseline, 10.5% (N = 2/19) met criteria for increased risk. After MeTree, 80.7% (N = 46/57) met criteria. CONCLUSION: MeTree integration into primary care can improve uptake of risk-stratified guidelines and potentially reduce "overuse" and "underuse" of increased-risk services.Genet Med 18 10, 1020-1028.

A Pharmacology-Based Enrichment Program for Undergraduates Promotes Interest in Science.

There is a strong need to increase the number of undergraduate students who pursue careers in science to provide the "fuel" that will power a science and technology-driven U.S. economy. Prior research suggests that both evidence-based teaching methods and early undergraduate research experiences may help to increase retention rates in the sciences. In this study, we examined the effect of a program that included 1) a Summer enrichment 2-wk minicourse and 2) an authentic Fall research course, both of which were designed specifically to support students' science motivation. Undergraduates who participated in the pharmacology-based enrichment program significantly improved their knowledge of basic biology and chemistry concepts; reported high levels of science motivation; and were likely to major in a biological, chemical, or biomedical field. Additionally, program participants who decided to major in biology or chemistry were significantly more likely to choose a pharmacology concentration than those majoring in biology or chemistry who did not participate in the enrichment program. Thus, by supporting students' science motivation, we can increase the number of students who are interested in science and science careers.

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.

Utility of a molecular prescreening program in advanced colorectal cancer for enrollment on biomarker-selected clinical trials.

BACKGROUND: Incorporation of multiple enrichment biomarkers into prospective clinical trials is an active area of investigation, but the factors that determine clinical trial enrollment following a molecular prescreening program have not been assessed. PATIENTS AND METHODS: Patients with 5-fluorouracil-refractory metastatic colorectal cancer at the MD Anderson Cancer Center were offered screening in the Assessment of Targeted Therapies Against Colorectal Cancer (ATTACC) program to identify eligibility for companion phase I or II clinical trials with a therapy targeted to an aberration detected in the patient, based on testing by immunohistochemistry, targeted gene sequencing panels, and CpG island methylation phenotype assays. RESULTS: Between August 2010 and December 2013, 484 patients were enrolled, 458 (95%) had a biomarker result, and 157 (32%) were enrolled on a clinical trial (92 on biomarker-selected and 65 on nonbiomarker selected). Of the 458 patients with a biomarker result, enrollment on biomarker-selected clinical trials was ninefold higher for predefined ATTACC-companion clinical trials as opposed to nonpredefined biomarker-selected clinical trials, 17.9% versus 2%, P < 0.001. Factors that correlated positively with trial enrollment in multivariate analysis were higher performance status, older age, lack of standard of care therapy, established patient at MD Anderson, and the presence of an eligible biomarker for an ATTACC-companion study. Early molecular screening did result in a higher rate of patients with remaining standard of care therapy enrolling on ATTACC-companion clinical trials, 45.1%, in contrast to nonpredefined clinical trials, 22.7%; odds ratio 3.1, P = 0.002. CONCLUSIONS: Though early molecular prescreening for predefined clinical trials resulted in an increase rate of trial enrollment of nonrefractory patients, the majority of patients enrolled on clinical trials were refractory to standard of care therapy. Within molecular prescreening programs, tailoring screening for preidentified and open clinical trials, temporally linking screening to treatment and optimizing both patient and physician engagement are efforts likely to improve enrollment on biomarker-selected clinical trials. CLINICAL TRIALS NUMBER: The study NCT number is NCT01196130.

Lukas Foss's The Prairie (1942): Building Community through Music

Lukas Foss's The Prairie, a seven-movement cantata for SATB soloists, mixed chorus, and orchestra, is a well-crafted and audience-friendly setting of the poem of the same name by Carl Sandburg. Acclaimed at its 1944 premiere, The Prairie has not enjoyed a robust performance history due in large part to numerous inconsistencies between the score and parts which render the work challenging to perform. Heretofore, each conductor has individually located these inconsistencies and made the necessary adjustments for performances. In this document, resources have been assembled which identify and correct many of the inconsistencies, thus facilitating more performances in the future. The Prairie is an ideal vehicle for a project-based chorus, which is itself an opportunity to create a new community. A correlation may exist between "community" and "vulnerability;" that is, when a choral singer feels comfortably connected to fellow singers, he or she may be more likely to open up to new ways of making sounds for the ultimate service of the music. Results are inconclusive, but the project points to a successful strategy for creating an affirming new community and to positive musical and nonmusical results of intentional community-building.

Elementary Principals' Perceptions of a Leadership Development Training Program

Research indicates that school leaders are crucial to improving instruction and raising student achievement (Council of Chief State School Officers, 2008). As such, educational reforms such as the No Child Left Behind Act (2001) and Race to the Top (2009) have sparked an accountability movement where principals are being held accountable for students' academic achievement and educational outcomes. The shift towards greater accountability has placed new attention on the ways principals are trained. Researchers have noted that organized professional development programs have not adequately prepared school principals to meet the priority demands of the 21st century (Hale & Moorman, 2003; Murphy, 1994). Murphy (1994) stated, "Traditional preparation programs - usually pre-service programs based in colleges or universities, that awarded certification and advanced degrees - rarely concentrated on the leadership challenges that principals actually face in real schools" (p. 4). As a result, many school districts are seeking ways to develop leadership development training programs that will prepare principals for their job responsibilities as a school leader. In spite of the additional training principals receive, researchers suggests that there is an obvious gap between the readiness of administrators to be instructional leaders and the demands for accountability that school administrators face (Hale & Moorman, 2003). This quantitative study examined elementary school principals' perceptions of their leadership development training program. Guided by four research questions, the study examined principals' perceptions of their overall training and how well their training prepared them to deal with school and classroom practices that contribute to student achievement; to work with teachers and others to design and implement a system for continuous student achievement; and to provide necessary support to carry out sound school, curriculum, and instructional practices. Data for this study was collected by way of survey responses from a total of 46 elementary school principals. The results from the study revealed that more than half (58.7%) of participants perceived their training as excellent. While principals' perceived that their training adequately prepared them to work collaboratively in teams, set clear visions and goals, and to use data to improve students achievement, many respondents reported a lack of training in being informed and focused on student achievement. Principals also suggested that they were not effectively trained in finding effective ways to obtain support from central office or community members.

Polish Violin Music in the 20th and 21st Century

The purpose of this dissertation is to promote Polish violin music written in the 20th and 21st Century. My recitals included many lesser-known compositions and composers which I strongly believe deserve to be better known and more often performed. The search and preparation of those pieces, for which recordings and music scores are not easily found, was a very exciting and stimulating process. Much Polish music written in the 20th and 21st Century is interesting, expressive, beautiful, and deserves to be more often performed. Performing 20th and 21st Century music opens new perspectives in two directions: musically and technically. Performer and listener are, in many cases, unbound from tonality. Composers are looking for new sonorities and exploring such performing techniques as varieties of harmonics, quarter tones, extreme dynamics, complex rhythms, and usage of a wide range of registers. An important part of Polish music is Polish folklore. The little town of Zakopane is known for Polish traditional clothing, food, architecture, dance and music. Also, most prominent Polish luthiers including Wojciech Topa, whose instrument I am playing, have been making their instruments in Zakopane. This little town in the Tatras Mountain has been an inspiration for many Polish artists including Iwaszkiewicz, Witkacy, Karłowicz, and Szymanowski. Those composers used such folklore elements as folk scales, popular tunes, and imitations of the sound of the folk band with characteristic folk dance rhythms. Other musical genres where folk elements are strongly present are the compositions dedicated to young musicians, with a specifically educational purpose. Among composers who wrote educational music were Grażyna Bacewicz, Witold Lutosławski, and Henryk Mikołaj Górecki. This approach makes the works more easily understood by young performers and, at the same time, broadens their understanding of Polish culture and prepares them for the challenges of contemporary music. This has been an exciting project for me because, on the one hand, it allowed me the challenge of performing compositions that are lesser-known and often consist of musical language new to me while, on the other, it brought me back to my roots and the country of my mother tongue.

TEACHING HIGH SCHOOL STUDENTS THE BEST CHORAL REPERTOIRE FROM THE GREAT COMPOSERS: MASTERWORKS AVAILABLE FOR IMMEDIATE, FREE ACCESS FROM THE CHORAL PUBLIC DOMAIN LIBRARY

Studying the choral works of the great composers of the past is always a worthy endeavor. For those aspiring to create an excellent high school choral program, it is critical to a student's musical foundation and heritage. Choral educators who teach high school are often bombarded with the most recently published new choral works, when they have a trove of excellent pieces right at their fingertips through websites like the Choral Public Domain Library (CPDL), all available at no cost. This project will explore the pedagogical reasons why this canon of public domain choral music should be taught at the high school level. A thorough guide to CPDL and an anthology of 200 works available on CPDL will provide the conductor with resources for programming this music. Though choral music in the public domain is free to all, publishers still publish this music and adhere copyright claims. This can create mistrust of legitimate editions on CPDL; why are they available at no cost when publishers are claiming copyright on similar editions? These issues will be thoroughly discussed in this project. For any given work on CPDL, there may be multiple editions available on the site. Choosing the right edition requires knowledge about basic editorial principles, especially for works written during the Renaissance period. A detailed discussion of these principles will provide the conductor with the tools needed to choose the best edition for his or her ensemble.

Psyche and the arts: Jungian approaches to music, architecture, literature, painting and film

Does art connect the individual psyche to history and culture? Psyche and the Arts challenges existing ideas about the relationship between Jung and art, and offers exciting new dimensions to key issues such as the role of image in popular culture, and the division of psyche and matter in art form. Divided into three sections - Getting into Art, Challenging the Critical Space and Interpreting Art in the World - the text shows how Jungian ideas can work with the arts to illuminate both psychological theory and aesthetic response. Psyche and the Arts offers new critical visions of literature, film, music, architecture and painting, as something alive in the experience of creators and audiences challenging previous Jungian criticism. This approach demonstrates Jung’s own belief that art is a healing response to collective cultural norms. This diverse yet focused collection from international contributors invites the reader to seek personal and cultural value in the arts, and will be essential reading for Jungian analysts, trainees and those more generally interested in the arts. [From the Publisher]