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Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the excellence of their own compositions while referring to the work of others? In what ways do artistic allusions influence new compositions? In this dissertation, I attempt to examine these questions and address the reasons for and the effects of musical quotations and allusions.

In comparing oratorio traits across history, three aspects of oratorio were found to be particularly applicable to the creation of "Deborah: A Chamber Oratorio in One Act." These aspects were: the selection of topic and the creation or adaptation of text; the differences between recitative and aria, in form and function; and the level of stylistic diversity within a given work.

Strengthening, resistant and shielding properties, to name a few, can be achieved by implementing a surface material coating onto an engineering component. Various elements of these compounded parts can augment the functionality of the part, such as, increased life time and more interactive surfaces. Tungsten has proven to be a challenge to plate with other metals, but if done correctly, the results can allow for the cold spray of tungsten. Cold spraying tungsten particles alone provides a challenge because the powder is too hard and instead of adhering, it erodes the surface it is attempting to plate. Coating tungsten in a softer metal, like copper, will allow for the particles to adhere to the surface and create a strengthened and radiation shielded component. It also yields a better surface to electroplate onto in the future, as tungsten itself is hard to plate onto, so the copper layer provides the ability to easily plate other metals. The purpose of this thesis project is to encapsulate tungsten powder within copper, then scale up the process to produce bulk amounts of the material in a batch process. The particles will be encased using an electroplating method, that has been vi turned into a semi-autonomous process for the ease of producing bulk powder. While electroless deposition has previously shown positive results for attaining a uniform coating, making it a semi-batch process for bulk material would have an extreme cost in comparison to electrolytic deposition. The tungsten particles have been successfully enclosed in copper by electrolytic deposition in this set of experimentation using an HF electro-etch pretreatment and ultrasonic agitation during electroplating. Further experimentation will include improved methods of stirring and transferring powder, as the transfer takes too long between the etch and the onset of plating and the stirring method is bulky and reduces the area that can be efficiently plated on.

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