ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at gradformat@asu.edu.
Displaying 41 - 50 of 70
Description
The death of a parent or sibling for youth under age 18 is life-altering and necessitates support and opportunities for expressing grief. Scholarship from psychology and medical disciplines often equates youthful grieving as a disease to be cured rather than a natural process to be experienced. Stage-based grief models explain adults coping with loss of loved ones by working through a series of discrete phases mostly tied to deficit-based emotions such as anger or depression. Progressive grief models have been emerging throughout the past 20 years in response to stage-based models; however these models tend to highlight deficit-based emotions and are applied to youth as afterthoughts. Thus, there is a noticeable absence of research exploring positive or strength-based emotions in adolescent grief from a communicative, youth-centered perspective. A communicative approach to exploring adolescent grief narratives offers a practical yet pliable theoretical lens for interpreting meaning from mourning. Using qualitative methods, I conducted full participant research as a volunteer with Comfort Zone Camp, a national organization sponsoring weekend-long grief camps for youth. I engaged in participant observation while volunteering to explore the communicative processes of 26 grieving adolescents and also conducted post-camp follow-up interviews with youth, parents, and adult volunteers. Analysis was based on 192 field work hours, 11 interview hours, artifacts, and camp documents. Findings of the dissertation indicate grieving adolescents use communicative processes, including sharing emotional pieces, co-authoring loss, and naming hurt, to perform a range of emotions. Along with deficit-based emotions, grieving adolescents perform strength-based emotions, including confidence, forgiveness, happiness, deservingness, hope, gratitude, resilience, love, and compassion. Evidence also supports that grieving campers performed compassion individually and in groups. Theoretically, this dissertation expands on existing grief theory by demonstrating that adolescents communicate strength-based emotions in grief, captured visually in the Concert of Emotions model. This study expands on compassion theory by exploring implications of collective compassion expressions. Specifically, this dissertation offers the co-performing sub-process to account for collective compassion extending past compassion models that focus on individual expressions. Practically, this research yields new understanding into how grieving adolescents constitute themselves as compassionate, helpful contributors as they face loss.
ContributorsClark, Louise Elizabeth (Author) / Tracy, Sarah J. (Thesis advisor) / Corey, Frederick (Committee member) / Miller, Katherine I (Committee member) / Swadener, Beth Blue (Committee member) / Arizona State University (Publisher)
Created2015
Description
In the past 10 to 15 years, there has been a tremendous increase in the amount of photovoltaic (PV) modules being both manufactured and installed in the field. Power plants in the hundreds of megawatts are continuously being turned online as the world turns toward greener and sustainable energy. Due to this fact and to calculate LCOE (levelized cost of energy), it is understandably becoming more important to comprehend the behavior of these systems as a whole by calculating two key data: the rate at which modules are degrading in the field; the trend (linear or nonlinear) in which the degradation is occurring. As opposed to periodical in field intrusive current-voltage (I-V) measurements, non-intrusive measurements are preferable to obtain these two key data since owners do not want to lose money by turning their systems off, as well as safety and breach of installer warranty terms. In order to understand the degradation behavior of PV systems, there is a need for highly accurate performance modeling. In this thesis 39 commercial PV power plants from the hot-dry climate of Arizona are analyzed to develop an understanding on the rate and trend of degradation seen by crystalline silicon PV modules. A total of three degradation rates were calculated for each power plant based on three methods: Performance Ratio (PR), Performance Index (PI), and raw kilowatt-hour. These methods were validated from in field I-V measurements obtained by Arizona State University Photovoltaic Reliability Lab (ASU-PRL). With the use of highly accurate performance models, the generated degradation rates may be used by the system owners to claim a warranty from PV module manufactures or other responsible parties.
ContributorsRaupp, Christopher (Author) / Tamizhmani, Govindasamy (Thesis advisor) / Srinivasan, Devarajan (Committee member) / Rogers, Bradley (Committee member) / Arizona State University (Publisher)
Created2016
Description
It’s Not That Simple: A Complex Journey of an MFA Applied Project discusses the experience of graduate student, Molly W. Schenck. Schenck’s applied project, It’s Not That Simple, was an interdisciplinary dance theatre performance piece that challenges rape culture on college campuses. While the focus of the applied project was this performance, it was the obstacles and highlights that were related to the project that made the journey memorable. This paper will discuss the history and evolution of It’s Not That Simple, the creative process, the research, the trajectory of the project, and reflections on the journey.
ContributorsSchenck, Molly W (Author) / Schupp, Karen (Thesis advisor) / Kaplan, Robert (Committee member) / Sterling, Pamela (Committee member) / Arizona State University (Publisher)
Created2016
Description
Since 1913, some of the world’s finest trumpeters have utilized the advantages of
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
ContributorsEwing, Bryan Christopher (Author) / Hickman, David (Thesis advisor) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2016
Description
According to the United States Department of Labor, the predicted percentage growth of jobs in music performance for 2012-22 is less than half the predicted percentage growth in overall national employment for the same period. While university music performance core curricula prepares students to attain their goals, which can include positions in orchestral, chamber, or solo settings, only a small number of such positions are predicted in the future job market. One possible solution to help students succeed as modern-day musicians is the implementation of curricula that emphasizes innovation and entrepreneurship in music performance. This paper comprises three parts: (1) a study intended to identify core curricula requirements for the Doctor of Musical Arts (DMA) in Violin Performance in the United States; (2) a sample Career Plan; and (3) a Syllabus for an Innovative Music Performance Course.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
The first section of this document contains a summary of the requirements for DMA violin performance courses, based on a large survey of university programs in the U.S., both public and private. Using Petersons’ catalogue of “Graduate Programs in the Humanities, Arts & Social Sciences,” thirty-five U.S. institutions (public and private) that offer DMA in violin performance degrees and publicize their core requirements online have been analyzed. This study reveals that distribution of hours required in music performance curricula have changed little in the last forty years. A career plan is provided as a practical tool to help students navigate their own careers in the twentieth century. This document culminates with a Syllabus for an Innovative Music Performance course designed to remedy the deficits in the current core curriculum.
ContributorsStrahm, Kathleen Ariel (Author) / Swartz, Jonathan (Thesis advisor) / Creviston, Christopher (Committee member) / Humphreys, Jere T (Committee member) / Norton, Kay (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2017
Description
This research project was written simultaneously with a composition for double
bass and piano that centers around improvisational concepts. The composition is intended for intermediate to advanced musicians to have an opportunity to practice improvisational performance and, hopefully, further their understanding and improve their ability to make convincing and creative musical decisions.
Improvisation, an aspect of music that has a deep tradition in Western Classical music, is often feared by classical musicians. The lack of improvisation in classical music, the idea that it is a specialized skill, and the lack of encouragement from studio teachers contributes greatly to this fear. In addition, teachers themselves often fear teaching and utilizing improvisation in performance for these same reasons. The introduction of improvisation into both the student’s and the teacher’s studies and daily practice can be beneficial in the development of meaningful performance and understanding music theory concepts.
This paper will introduce improvisation into daily practice that will educate both the student and the teacher and cement the understanding of theoretical concepts and standard repertoire. Various improvisation games (creating new material and improvising from traditional classical music) will be introduced. This study will begin with a brief survey of the tradition of improvisation in Western classical music from the Middle Ages to the present.
bass and piano that centers around improvisational concepts. The composition is intended for intermediate to advanced musicians to have an opportunity to practice improvisational performance and, hopefully, further their understanding and improve their ability to make convincing and creative musical decisions.
Improvisation, an aspect of music that has a deep tradition in Western Classical music, is often feared by classical musicians. The lack of improvisation in classical music, the idea that it is a specialized skill, and the lack of encouragement from studio teachers contributes greatly to this fear. In addition, teachers themselves often fear teaching and utilizing improvisation in performance for these same reasons. The introduction of improvisation into both the student’s and the teacher’s studies and daily practice can be beneficial in the development of meaningful performance and understanding music theory concepts.
This paper will introduce improvisation into daily practice that will educate both the student and the teacher and cement the understanding of theoretical concepts and standard repertoire. Various improvisation games (creating new material and improvising from traditional classical music) will be introduced. This study will begin with a brief survey of the tradition of improvisation in Western classical music from the Middle Ages to the present.
ContributorsHedquist, Benjamin Patrick (Author) / Rotaru, Catalin (Thesis advisor) / DeMars, James (Committee member) / Koonce, Frank (Committee member) / Arizona State University (Publisher)
Created2017
Description
Saudi Arabia has been facing issues with completing construction projects on time and on budget. It has been documented that 70% of public construction projects are delayed. Studies have identified the low-bid delivery method as an important factor in causing such delays. The procurement system (low-bid) ignores contractors’ performance, and that is reflected in projects’ performance. A case study was performed, at a University campus in northern Saudi Arabia, identifying the major causes of project delays and cost overruns. The University was experiencing delays from 50% to 150%. Also, the actual project costs for four projects were examined and found that all four projects’ costs were higher than the original bid. The delay and cost overruns factors were gathered from the University engineers. A literature research identified one construction management method, best value performance information procurement system (BV PIPS), has documented multiple times its ability to improve project performance. In a comparison using the result of a case study and the results of (BV PIPS), Saudi Arabia’s delivery system was identified as a potential cause of project performance issues. The current procurement system was analyzed and modified to adapt with the (BV PIPS). The proposed procurement system using BV PIPS, which can be implemented in Saudi Arabia, was created with owner side. A large survey was conducted of 761 classified contractors and 43 universities’ representatives who rated causes of delay factors and cost overruns. The delay factors were then compared to delay factors experienced on Saudi construction projects, identified by performing a literature research. The comparison identified 14 important causes of delays. Moreover, the survey showed that classified contractors and universities’ representatives unsatisfied with low-bid, and they agreed with BV PIPS which selecting vendors based on performance with price. The proposed model required a submitted level of experience (LE), risk assessment (RA), and value added (VA). Besides, project managers of vendors should be interviewed during the clarification phase. In addition, venders should submit the project’s scope, technical schedule, milestone schedule, and risk management plan. In the execution phase, vendors should submit a weekly risk report (WRR) and director’s report (DR).
ContributorsAlzara, Majed (Author) / Kashiwagi, Dean (Thesis advisor) / Kashiwagi, Jacob (Committee member) / Al-Tassan, Abdulrahman (Committee member) / Arizona State University (Publisher)
Created2016
Description
The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.
ContributorsSavic, Nenad (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / McLin, Katherine (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
Description
The U.S. Army Medical Command has been testing a leadership based structure to increase the performance of delivering construction and facility services in its system of $600M of construction and 26 major hospital facilities in the U.S. The organizational requirement was to minimize the management and oversight of contractors and simultaneously increase project performance. The research proposes that a leadership based structure can supplement the perception, preplanning, and risk minimization capability of a contractor's project manager, thus increasing the project performance (on time, within budget, and meeting expectations) and decreasing client management requirement. The projects were delivered in a best value and low price environment. The major impact of this research was that proactive management by contractors was more effective than traditional management such as direction, control, and inspection by client's professional representatives. The results based on data collection and date analyses validated that a leadership based structure can increase the performance of an organization and reduce its management requirement.
ContributorsMalhotra, Neha (Author) / Kashiwagi, Dean T. (Thesis advisor) / Sullivan, Kenneth (Committee member) / Badger, William (Committee member) / Arizona State University (Publisher)
Created2010
Description
The Philippine Sea refers to the East and West Philippine Sea that are within the sovereign territory of the 7,641 islands of the Philippine archipelago. Historically, Spain, the United States, and Japan have colonized the islands, and the United States and China continue to maintain imperial interests in the area. Filipino/a/x diasporic activists in the U.S. and allies have participated in the anti-imperial struggle in support of demilitarization of the Pacific and of neo-colonized states across the globe. Responding to the problematics of anti-imperialism and solidarity, this dissertation advances the concept of agos or moving relations to attune to the sea as an analytic in theorizing activism, communication, and performance. This project was written on the unceded ancestral homelands of the Onk Akimel O’odham and Xalychidom Piipash, was inspired by the works of Black and Indigenous communities and scholars, and was influenced by Kale Fajardo’s notion of crosscurrents and Loma Cuevas-Hewitt’s concept of archipelagic poetics. Across critical organizational communication, critical intercultural communication, and performance studies, agos theorizes the relationalities of movements and the movements of relationalities. Utilizing critical qualitative, rhetorical, and performance methods, this project develops three instantiations of agos. In “Whirlpool Organizing,” the processes of anti-imperial organizers’ relationship and coalition building are examined to demonstrate the liquidities that animate dialectics and differences. In “Anchored Relationality,” U.S. diasporic Filipino/a/x’ varied and complex reconnections with Philippine waters are explored to illustrate the fluidities of positions and relations. In “Archipelagic Performance,” the staged production of “What sounds do turtles make?” is analyzed to showcase the flows of a decolonial and relational mode of performance.
ContributorsLabador, Ma Angela San Luis (Author) / LeMaster, Loretta (Thesis advisor) / Kim, Heewon (Thesis advisor) / Leong, Karen (Committee member) / Hastings, Rachel (Committee member) / Arizona State University (Publisher)
Created2023