My work consists of the research of how to effectively write new material for a small baroque opera ensemble. How to make it possible to create a storyline that embarks through contrasting arias and duets from different arias with different synopsis.

Η περιοχή του ανατολικού τμήματος της τάφρου της Κορίνθου αποτελεί μια ταχύτατα αναπτυσσόμενη περιοχή φιλοξενώντας σημαντικότατες υποδομές. Η ανάπτυξη αυτής της περιοχής είναι απειλούμενη από την εξίσου σημαντική σεισμική δραστηριότητα που εμφανίζει και είχε ως αποτέλεσμα, σε προηγούμενους ιστορικούς χρόνους εκτεταμένες καταρρεύσεις κτηρίων, θανάτους ή και την πλήρη καταστροφή πόλεων. Σήμερα, νέες επιστημονικές μέθοδοι επικεντρώνονται στα εντυπωσιακά ρηξιγενή πρανή που τη διατρέχουν, η δράση των οποίων θεωρείται υπεύθυνη για τα ισχυρά σεισμικά επεισόδια που συμβαίνουν στην περιοχή. Η εκτίμηση των γεωμετρικών χαρακτηριστικών των ενεργών ρηγμάτων που εντοπίζονται στο θαλάσσιο και στο χερσαίο νότιο τμήμα της τάφρου οδήγησε σε μορφοκλασματικές κατανομές των δύο πληθυσμών από όπου προέκυψε ότι η κυρίαρχη διαδικασία ανάπτυξης των ρηγμάτων στον Κορινθιακό κόλπο είναι η συνένωση μικρότερων ρηγμάτων. Η διαδικασία αυτή φαίνεται να βρίσκεται σε ένα πιο πρώιμο στάδιο στον θαλάσσιο πληθυσμό, ενώ αντίθετα ο χερσαίος πληθυσμός έχει εισαχθεί σε ένα στάδιο ωριμότητας της παραμόρφωσης. Επιπλέον, διαπιστώθηκε ότι ο διαχωρισμός σε μήκη ρηγμάτων μικρότερα και μεγαλύτερα από 5km αναπαριστά ένα ανώτερο όριο στο οποίο πραγματοποιείται η αλλαγή στον τρόπο ανάπτυξης των ρηγμάτων αλλά μπορεί να συσχετιστεί και με την υποκείμενη μηχανική στρωμάτωση. Από αυτές τις κατανομές επιλέχθηκε μια ομάδα δεκατεσσάρων ρηγμάτων που αποτελούν σαφώς προσδιορισμένες σεισμικές πηγές και κυριαρχούν σε περιοχές με υψηλή σεισμικότητα. Ιδιαίτερα μελετήθηκε το ρήγμα των Κεγχρεών το οποίο είναι παρακείμενο σημαντικών υποδομών και στο οποίο πραγματοποιήθηκε γεωμορφολογική ανάλυση που απέδειξε ότι όλο το ρήγμα είναι ενεργό, αλλά και παλαιοσεισμολογική εκσκαφή στην οποία αναγνωρίστηκαν τρία τουλάχιστον σεισμικά γεγονότα μεγέθους 6.3 με κυμαινόμενη περίοδο επανάληψης. Τέλος, για αυτή την ομάδα ρηγμάτων κατασκευάστηκαν δενδροδιαγράμματα εκτίμησης της σεισμικής επικινδυνότητας από τα οποία υπολογίστηκε η ένταση Arias με τη χρήση διαφορετικής βαρύτητας εμπειρικών σχέσεων. Συνεκτιμώντας τη γωνία κλίσης του πρανούς, την επικρατούσα λιθολογία στην επικεντρική περιοχή καθώς και τα όρια της έντασης Arias εντοπίστηκαν θέσεις που εμφανίζονται επιδεκτικές σε διάφορους τύπους δευτερογενών φαινομένων, όπως ρευστοποιήσεις, ολισθήσεις και πτώσεις βράχων. Οι παράκτιες περιοχές των πόλεων του Κιάτου της Κορίνθου, του Λουτρακίου και οι βόρειες ακτές της χερσονήσου της Περαχώρας φαίνεται να επηρεάζονται σε σημαντικότερο βαθμό από την ενεργοποίηση τέτοιων φαινομένων. / The area of the eastern part of the Gulf of Corinth constitutes a rapid developing region hosting significant infrastructures. The significant seismic activity put a threat on this development as it has been noticed during historical time, triggering extensive collapses, human casualties and total disaster of cities. Today new scientific methods are implemented on the spectacular fault arrays that dissect the graben and whose activity is related to the important seismic events, occurred in the area. The scaling properties estimation of the active faults along the Gulf, both onshore and offshore, defines the fractal distributions of both populations. These fractal distributions show that the main fault growth process is the linkage and interaction between smaller fault segments. The offshore population is characterized by an earlier stage of this process, whereas the onshore population indicates a more mature stage of deformation. Additionally, the subdivision of fault length above and beyond 5km represents a maximum bound, where the change in the growth process takes place, but it can also be associated with the underlying crustal mechanical layering. These fractal distributions determine a selection of a group of fourteen active faults that represent unambiguous seismic sources located on highly seismic areas. From this group, the Kencreai fault was especially studied due to its proximity to essential infrastructure. The geomorphology and palaeoseimological analysis of this fault reveal that the fault is active all along its trace, hosting at least three major seismic events with maximum magnitude 6.3 and fluctuant recurrence interval. Finally, for this fault group, seismic hazard assessment logic trees are produced, that calculate the Arias intensity considering the uncertainty of different attenuation relationships. By evaluating the slope gradient, the lithology conditions in the epicentral area and the upper bounds of the Arias intensity, areas highly susceptible to future site effects such as liquefactions, landslides and rock falls are located. The coastal areas of the Kiato, Corinthos and Loutraki cities and the north coast of the Perachora peninsula as well seem more influenced by site effects induced by major earthquakes.

The lecture recital was given April 1, 1974. Eighteenth-century accounts of the voices and performing styles of Francesca Cuzzoni, Faustina Bordoni, and Anna Strada del Pò were related to six opera arias written for them by George Frideric Handel. The arias, accompanied by harpsichord, violin, and violoncello, were performed with added original ornamentation. In addition to the lecture recital two other public recitals and two opera roles were performed. The first solo recital was on February 11, 1972, and included works by Mozart, Fauré, Rimsky-Korsakov, R. Strauss, Walton, Moore, and others. The second solo recital, on October 15, 1973, included works by Porpora, Rameau, Handel, Wolf, Donizetti, Debussy, and Schubert. The role of "Urgele" in the marionette opera Die Fee Urgele by Pleyel was performed in English on October 30 and 31, 1972, with the Collegium Musicum of North Texas State University. The role of "Clorinda" in Rossini's La Cenerentola was performed in English on November 26 and 28, 1972, with the Shreveport Symphony.

Thesis (Ph. D.)--University of California, Santa Cruz, 1993. / Typescript. Includes bibliographical references (leaves [238]-254).

The dramatic structure is like the skeleton that holds together the components and gives birth to the orchestration of the performance.This structure is essential to give the performance life.As a director in theatre it is our main tool. In defining the performance we define the dramaturgy. But what does the dramaturgy consist of and how do we get a hold of a tool, which is so driven by our intuition and how do we change it during the process? In this thesis work I will focus on how to use the dramatic principles in different works from interpretation to adaptation. I will explore how these principles function in each process and how they support the dramaturgy towards the creation of the performance.

Although long-neglected, the topic of Handel's operatic oeuvre has in recent years gained new currency. Of interest to oboists is the great amount of soloistic writing for the oboe in the arias of his operas which takes the form of obbligato solos. From this body of works approximately twenty operas contain soloistic writing for the oboe in conjunction with the voice. The rationale for the investigation of this topic is two-fold: first, to make oboists aware of the availability of this body of literature, and second, to explore the manner and extent to which Handel used the oboe as an obbligato instrument. Topics covered include the instrumental make-up of Handel's orchestra and a brief history of the obbligato aria beginning with the early trumpet arias. An examination of Handel's compositional technique precedes a detailed analysis of six examples of varying style. The conclusion considers the aesthetics of performing these pieces out of context in light of historical practice and perception.

The lecture was given on April 23, 1979. The discussion consisted of an exploration of the history and derivation of the Baroque idiomatic technique for trumpet to which Handel was heir. Consideration for Baroque performance practice is included along with stylistic and formal analyses of the trumpet arias that were performed. Four works were rendered; they were selected on the basis of their adaptability to the recital situation. The first recital was presented on April 24, 1970, and included solo works of Giuseppe Torelli, Geoffrey Robbins, Marcel Poot, Halsey Stevens, and Fanfares Liturgiques by Henri Tomasi which featured Mr. Morley as conductor of a sixteen member brass choir. The second recital, on February 18, 1971, featured solo works by von Oskar Bohme, Roger Goeb, Robert Weast, Merrill Ellis, and the Septet fur Biasinstrumente by Paul Hindemith. The third recital included solo works of Paul Hinderoith, Kent Kennan, Georges Enesco, and Marcel Bitsch, and was presented on August 16, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

During the debate over the ratification of the United States-Central America-Dominican Republic Free Trade Agreement (CAFTA), the Bush Administration argued that implementation of a free trade agreement would help strengthen the nascent democracies in Central America. As a bilateral agreement, CAFTA would not only foment greater trade liberalization by expanding market access and eliminating trade barriers, but also help transform the entire commercial frameworks in Central America and promote economic development. These implications are not just economic – in particular, its provisions on intellectual property and investment rights, government procurement and labor standards affect the political institutions underpinning democracy and rule of law. This thesis assesses the role in which CAFTA has affected democratic institutions in Central America. It employs a methodology known as the Democratic Audit to evaluate consequences to four dimensions of democracy - the electoral processes, open and accountable institutions, civil and political liberties, and civil society. It demonstrates the value of using the Democratic Audit to assess a trade agreement’s political effects with an application to Mexico after NAFTA. Then this work considers the case studies of El Salvador and Costa Rica, the most salient examples of democratic institutional change after CAFTA, by drawing on original research especially into the electoral politics and civil society development in these countries. Ultimately, the thesis argues that the most significant institutional effects of CAFTA have been its role as a political issue, rather than its content, in galvanizing popular opinion and reinvigorating electoral politics and civil society - ironically, not the consequences that the Administration originally had in mind. The research demonstrates that, even if some conclusions cannot be drawn due to the recency of CAFTA, the framework it has employed will be an invaluable tool for assessing future trade agreements.

abstract: This DMA project (in piano performance) consists of a concerto composed for trumpet and piano duo with orchestra and an analytical document that accompanies it. The text portion of this paper discusses the different compositional aspects of Rapsodia Camaleónica, including instrumentation, form, influences and the performers' perspective. The work is scored for a medium-sized orchestra: 2 flutes (flute 2 double piccolo), 2 oboes, 2 clarinets, 2 bassoons, horn, trombone, bass trombone, 4 percussionists (timpani, snare drum, crash cymbals, suspended cymbal, castanets, güiro or carrasca, shekere, whip, xylophone, triangle, pandeiro, tam-tam, wood blocks, 2 congas, glockenspiel, 3 tom-toms, bass drum) and strings. It is written in one multi-sectional movement with a duration of approximately twenty-three minutes. The full score is attached as an appendix. The influences in Rapsodia Camaleónica range from the western classical tradition to world music to urban dance music, all of which fuse together in a work that blends this eclectic mix into a unified whole. This composition is intended as an addition to the piano concerto repertoire from Latin America, which includes compositions by Carlos Chávez, Manuel María Ponce (both Mexican), Alberto Ginastera (Argentinian), Camargo Guarnieri and Heitor Villa-Lobos (both Brazilian). It is the composer's desire to add a Colombian piece of universal appeal to this list. / Dissertation/Thesis / D.M.A. Music 2012

The theme of the thesis is the serious opera Nitteti, which was composed in 1765 by the Italian composer Domenico Fischietti at the end of his several-years-long residence in Prague. The thesis aims at introducing Fischietti's serious opera style, which has so far been neglected and mostly overshadowed by his comic operas. This work focuses on exploring and elaborating on the topic of Prague Italian opera of that era through the study of the opera Nitteti. At the same time, the opera Nitteti is compared with a later version of the same title composed for Naples by Fischietti in 1775. One of the foundations for examining the opera is the context of the theater production (especially performing singers) in both opera centers. The composer's treatment of the classical libretto by Pietro Metastasio in terms of music dramaturgy and the transformation of Fischietti's compositional style is also subject to comparison scrutiny in both versions. Keywords Domenico Fischietti, Nitteti, opera seria, Pietro Metastasio, 18th century, arias analysis