SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

PHILIPPE ROGIER (c.1561-1596): MISSA INCLITA STIRPS JESSE. A CRITICAL AND PERFORMING EDITION WITH PERFORMANCE COMMENTARY

The dissertation comprises two parts: (a) a musical edition and (b) a performance given on 3 July, 2008 of Philippe Rogier’s Missa Inclita stirps Jesse. The dissertation explores some of the editorial decisions required, how the demands of performers and musicologists differ, and whether they can be reconciled in one single edition. The commentary explains the preparation and realization of the edition. A video recording of the concert performance is attached to the dissertation. The Mass: The Missa Inclita stirps Jesse was published in Madrid in 1598 in a collection entitled Missae Sex. The mass setting is for four voices, except the Agnus Dei, which is for five, and is based on musical material in the motet Inclita stirps Jesse by Jacobus Clemens non Papa (c. 1510-15 – c.1556-6). Rogier’s choice and use of musical material from the motet (published in 1549) are discussed in the dissertation. The Edition: The edition is made from a microfilm copy of the Missae Sex held in the Biblioteca del Conservatorio de Musica “Giuseppe Verdi” in Milan. The Missae Sex was originally dedicated to King Philip II of Spain (1527-1598, reg. 1556-1598), whom Rogier had served as chorister and then maestro de capilla. Both Rogier and King Philip died before the volume was ready for publication. One of Rogier’s pupils, Géry de Ghersem, prepared the volume, which was printed in 1598, dedicated to King Philip III. The Performance: The mass was performed at a concert of Spanish Renaissance music in St. Matthew’s Cathedral, Washington, DC, on 3 July 2008, sung by the ensemble Orpheus directed by Philip Cave as part of the Chorworks summer workshop entitled Kings and Conquistadors: Music of Old and New Spain.

MUSICAL IMPROVISATION AND THE CREATIVE PROCESS

Musical improvisation combines technical proficiency and musical intuition. Due to its interactive nature, improvisation provides an avenue of communication among all art forms. This dissertation project explores the collaborative aspects of improvisation involving a musician, visual artist, a small group of dancers, and videographer. Video footage from two separate recording sessions provided hours of visual materials which were studied and edited. The first session was a live performance recorded in front of a studio audience. The second session was a two-day collaboration between musician and dancers in a studio space. The process of editing and compiling images with audio-an important element in this project-presented many unforeseeable challenges and lessons. This recorded dissertation is comprised of seven music videos that demonstrate my ability as an artist in collaboration with visual artist-professor Richard Klank, dancers David Yates, Jamie Garcia, Raha Behnam, Rachel Wolfe and Adrian Galvin, and video artist Nguyen Nguyen. Each video represents an individual creative process involving musical performance, studio lighting, sound recording, and video editing.

The steady-state visual evoked potential in vision research: A review.

Periodic visual stimulation and analysis of the resulting steady-state visual evoked potentials were first introduced over 80 years ago as a means to study visual sensation and perception. From the first single-channel recording of responses to modulated light to the present use of sophisticated digital displays composed of complex visual stimuli and high-density recording arrays, steady-state methods have been applied in a broad range of scientific and applied settings.The purpose of this article is to describe the fundamental stimulation paradigms for steady-state visual evoked potentials and to illustrate these principles through research findings across a range of applications in vision science.

Paleoenvironmental reconstruction of the coastal Monte Léon and Santa Cruz formations (Early Miocene) at Rincón del Buque, Southern Patagonia: A revisited locality

© 2015 Elsevier Ltd.Sedimentological, ichnological and paleontological analyses of the Early Miocene uppermost Monte León Formation and the lower part of the Santa Cruz Formation were carried out in Rincón del Buque (RDB), a fossiliferous locality north of Río Coyle in Santa Cruz Province, Patagonia, Argentina. This locality is of special importance because it contains the basal contact between the Monte Léon (MLF) and the Santa Cruz (SCF) formations and because it preserves a rich fossil assemblage of marine invertebrates and marine trace fossils, and terrestrial vertebrates and plants, which has not been extensively studied. A ~90m-thick section of the MLF and the SCF that crops out at RDB was selected for this study. Eleven facies associations (FA) are described, which are, from base to top: subtidal-intertidal deposits with Crassotrea orbignyi and bioturbation of the Skolithos-Cruziana ichnofacies (FA1); tidal creek deposits with terrestrial fossil mammals and Ophiomorpha isp. burrows (FA2); tidal flat deposits with Glossifungites ichnofacies (FA3); deposits of tidal channels (FA4) and tidal sand flats (FA5) both with and impoverish Skolithos ichnofacies associated; marsh deposits (FA6); tidal point bar deposits recording a depauperate mixture of both the Skolithos and Cruziana ichnofacies (FA7); fluvial channel deposits (FA8); fluvial point bar deposits (FA9); floodplain deposits (FA10); and pyroclastic and volcaniclastic deposits of the floodplain where terrestrial fossil mammal remains occur (FA11).The transition of the MLF-SCF at RDB reflects a changing depositional environment from the outer part of an estuary (FA1) through the central (FA2-6) to inner part of a tide-dominated estuary (FA7). Finally a fluvial system occurs with single channels of relatively low energy and low sinuosity enclosed by a broad, low-energy floodplain dominated by partially edaphized ash-fall, sheet-flood, and overbank deposits (FA8-11). Pyroclastic and volcaniclastic materials throughout the succession must have been deposited as ash-fall distal facies in a fluvial setting and also were carried by fluvial streams and redeposited in both estuarine and fluvial settings. These materials preserve most of the analyzed terrestrial fossil mammals that characterize the Santacrucian age of the RDB's succession. Episodic sedimentation under volcanic influence, high sedimentation rates and a relatively warm and seasonal climate are inferred for the MLF and SCF section.Lateral continuity of the marker horizons at RDB serve for correlation with other coastal localities such as the lower part of the coastal SCF south of Río Coyle (~17.6-17.4Ma) belonging to the Estancia La Costa Member of the SCF.