This technical memorandum summarizes a literature review update, elements of the construction of a test track to assess various aspects of gap-graded rubberized asphalt concrete (RHMA-G) mixes with and without the addition of reclaimed asphalt pavement (RAP) as aggregate replacement, and a first-level analysis of the results from the first three Heavy Vehicle Simulator (HVS) tests.

Four different RHMA-G mixes were placed on seven sections on the test track at the UCPRC. Mixes differed by nominal maximum aggregate size (NMAS, 1/2 and 3/4 in.) and the addition of 10% RAP by weight of the aggregate as an aggregate replacement. Single and double lifts of each mix were placed. Apart from the addition of RAP, the mix designs all met current Caltrans specifications. Although Caltrans currently does not permit more than one lift of RHMA-G on projects, the placement of each lift of each mix on the test track met current Caltrans specifications for RHMA-G layers.

The first three HVS tests discussed in this technical memorandum covered the control section (0.2 ft. [60 mm], 1/2 in. NMAS with no RAP), a section with a single lift of 1/2 in. mix with RAP, and a section with two lifts of a 3/4 in. mix with RAP. Results from these first three HVS tests, which focused on rutting performance, indicated the following:

• Performance of all three mixes was satisfactory in terms of the level of trafficking required to reach a terminal average maximum rut of 0.5 in. (12.5 mm).

• The addition of RAP as a coarse aggregate replacement did not appear to have a significant influence on the test results.

• The back calculated stiffnesses of the RHMA-G layer(s) on each section before and after HVS testing indicate that the trafficking did not cause any significant damage (i.e., loss in stiffness) in any of the three test sections. Stiffnesses increased after trafficking on two of the three sections, which was attributed to a combination of aging and densification of the layers under traffic. Some blending of reclaimed asphalt binder with the asphalt rubber binder over time on these two sections, both containing RAP, may have contributed to this stiffness increase.

• No cracks were observed on any of the sections after trafficking.

Given that only three sections have been tested to date, no recommendations on RHMA-G layer thicknesses or permitting the use of coarse RAP in RHMA-G mixes can be made at this time. These recommendations will be made after all the sections have been tested and the forensic investigations and associated laboratory testing have been completed.

A brief review of some studies undertaken reveal that direct relationships between DCP penetration and R-value are not reliable for general use in California. Limited studies appear to have been carried out and any relationships developed are based on very small samples that have significant variation. Good correlations between DCP penetration and shear strength and DCP penetration and stiffness have been developed, although these are material property dependent and need to be used with caution. Very little work on the development of relationships between these properties and R-value appears to have been carried out. Thus attempting to predict R-value from DCP penetration indirectly through the shear strength or stiffness will be very unreliable. A statistically valid relationship between DCP penetration and R-value is probably feasible in that some soil properties influencing the result are common to both. However, a very large experiment will need to be carried out in order to develop a reliable relationship. The need for such an experiment is questioned given that wider use of mechanistic empirical analysis and design methods will render the R-value obsolete in favor of modulus tests. It is therefore recommended that:

* Any relationships already developed between DCP penetration and R-value should be used with extreme caution, especially if those relationships were developed outside of the area and/or on different soils in which the DCP penetrations have been carried out * Indirect prediction of R-value from DCP penetration using the elastic or resilient modulus is not recommended * If the development of a relationship between DCP penetration and R-value is pursued, a comprehensive factorial experimental design should be followed, which considers a wide variety of soil properties, soil moistures, densities and confining pressures. The reproducibility and repeatability of the R-value test should also be quantified.

This essay presents an overview of Changjak gugak in the twenty-first centuries in threefold: a brief history, categorizations of Changjak gugak, and recent compositional strategies with focus on three selected composers’ works: Unsuk Chin’s “Šu for sheng and orchestra,” Il Ryun Chung’s “Glut,” “Benu,” “Breath,” and “Gravity,” and June Hee Lim’s “Honbul I,” and “Dokdo, Island of Five Senses.”

Changjak gugak has a relatively shorter history compared to traditional music of Korea that traces its origin back to the three-kingdom period (57 BC to 668 AD). Musicians attribute the rise of Changjak gugak in Korea to the influence of Western music in Korea during the 1960s; Beginning in the 1970’s, new compositional experiments and studies of the history and development of contemporary Korean composers demonstrated an increasing interest in Korean music, instruments, and characteristics over 50 years.

Given the growing interest of Changjak gugak works, Korean musicologists such as So Young Lee and Hyun Ji Lee attempted to organize the analytic observations of several prior musicologists into several categories of Changjak gugak; So Young Lee’s categorizations are based on the inclusion or exclusion of Korean instruments and on the presence or absence of Korean traditional aesthetic characteristics; Hyun Ji Lee’s categorizations primarily based upon Yayoi Uno Everett’s taxonomy discussed the compositional strategies in pieces that combine two cultures.

In dealing with musical and philosophical issues in multicultural composition, the three selected composers–Unsuk Chin, Il Ryun Chung, and June Hee Lim–have adopted markedly different approaches. In avoiding musical exoticism, Unsuk Chin excludes Korean melodic and modal references in “Šu.” It demonstrates her approach in that it exploits and expands the Sheng’s techniques in ways that do not necessarily imply Korean or Chinese references. Her focus instead is more on taking advantage of the complex chords that the Sheng can execute and on its unique timbre that can be easily blended with her contemporary writing for orchestra. Il Ryun Chung’s music does not explicitly introduce Korean melody or textures but has acoustic associations with Korean music due to his tuning systems and use of flexible intonation. The structures of the four pieces addressed in this essay resemble Korean musical form, called Jangdan. Chung obtains a unique hybrid of Korean (or other Asian) and experimental music without overtly borrowing specific musical materials from disparate traditions. In “Honbul I” and “Dokdo,” June Hee Lim freely and flexibly crosses cultural boundaries by means of fusing various scales: tonal harmonies, chromaticism, dodecaphony and Korean scales; She organizes musical elements full of Korean references into Western structures such as concerto form, multi-movement form, and art song forms.

Musicians produce sound from acoustic instruments by means of physical movements: plucking, bowing, beating and other motions that excite acoustic media. Movement is found in music performance also as corporeal expression of emotional engagement in the music and as means of communication between musicians. Yet, in the European concert hall tradition, movement is considered as ancillary to sound production and is rarely addressed directly by composers. I discuss four contemporary works that explicitly ask musicians to incorporate body movements beyond the functional movements necessary for sound production, and bring movement from the background to the foreground. Movement of musicians and their reference to physical space are in these works deliberate, distinct and central to the artistic language.

I discuss the elements that are pertinent to movement (i.e. performers, physical objects and space), and examine the balance between movement and sound, and how they interact in each one of the four works. Finally, I offer my own interpretation of the effect of movement in each work, and the meaning of movement within the compositional logic. A key term I use is a type of artistic gesture that I call "movement-sound gesture" (MSG). MSG is a deliberate, conscious bodily movement, made by musicians in direct association and conjunction with sound production, yet often excessive to that necessary for sound production, and always meant to have an expressive artistic charge.