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 1 - 10 of 97
Description
Bright Summer, a one-movement piece for orchestra, was composed in Arizona, and completed in February 2013. The piece is approximately twelve minutes long. The motivation for writing this piece was the death of my mother the year before, in 2012. The prevailing mood of this work is bright and pleasant, expressing my mother's cheerful personality when she was alive. It also portrays bright summer days which resemble my mother's spirit. Thus, soundscape plays an important role in this work. It depicts summer breeze, rustling sounds of leaves, and, to translate a Korean saying, "high blue skies." This soundscape opens the piece as well as closes it. In the middle section, the fast upbeat themes represent my mother's witty and optimistic personality. The piece also contains the presence of a hymn tune, The Love of God is Greater Far, which informs the motivic content and also functions as the climax of the piece. It was my mother's favorite hymn and we used to sing it together following her conversion to Christianity. The piece contains three main sections, which are held together by transitional material based on the soundscape and metric modulations. Unlike my earlier works, Bright Summer is tonal, with upper tertian harmonies prevailing throughout the piece. However, the opening and closing soundscapes do not have functional harmonies. For example, tertian chords appear and vanish silently, leaving behind some resonant sounds without any harmonic progression. Overall, the whole piece is reminiscent of my mother who lived a beautiful life.
ContributorsKim, JeeYeon (Composer) / DeMars, James (Thesis advisor) / Hackbarth, Glenn (Committee member) / Rogers, Rodney (Committee member) / Levy, Benjamin (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Norwegian composer Ola Gjeilo (b. 1978) is highly regarded as an accomplished and prolific composer of choral music. His creative output includes works for chorus, solo piano, and wind symphony. His unique style infuses elements of cinematic music, jazz and improvisation, with particularly intriguing selections of text. This study examines the factors that influence Gjeilo's compositional techniques, and the musical interpretations of conductor Charles Bruffy in his preparation for The Phoenix Chorale's recording Northern Lights: Choral Works by Ola Gjeilo. The eleven works discussed in this study are: The Ground, Evening Prayer, Ubi caritas, Prelude, Northern Lights, The Spheres, Tota pulchra es, Serenity, Phoenix (Agnus Dei), Unicornis captivatur, and Dark Night of the Soul. As a relatively new and young composer, there is very little published literature on Gjeilo and his works. This study provides an intimate glance into the creative process of the composer. By composing in multiple styles and with a variety of inspirational sources, Gjeilo creates a fresh approach toward composition of new choral music. His style is revealed through interviews and numerous collaborations with conductors and performers who have prepared and performed his music, as well through an examination of the eleven works recorded by The Phoenix Chorale.
ContributorsGarrison, Ryan Derrick (Author) / Reber, William (Thesis advisor) / Saucier, Catherine (Committee member) / Rockmaker, Jody (Committee member) / Doan, Jerry (Committee member) / Arizona State University (Publisher)
Created2013
Description
The implications of a changing climate have a profound impact on human life, society, and policy making. The need for accurate climate prediction becomes increasingly important as we better understand these implications. Currently, the most widely used climate prediction relies on the synthesis of climate model simulations organized by the Coupled Model Intercomparison Project (CMIP); these simulations are ensemble-averaged to construct projections for the 21st century climate. However, a significant degree of bias and variability in the model simulations for the 20th century climate is well-known at both global and regional scales. Based on that insight, this study provides an alternative approach for constructing climate projections that incorporates knowledge of model bias. This approach is demonstrated to be a viable alternative which can be easily implemented by water resource managers for potentially more accurate projections. Tests of the new approach are provided on a global scale with an emphasis on semiarid regional studies for their particular vulnerability to water resource changes, using both the former CMIP Phase 3 (CMIP3) and current Phase 5 (CMIP5) model archives. This investigation is accompanied by a detailed analysis of the dynamical processes and water budget to understand the behaviors and sources of model biases. Sensitivity studies of selected CMIP5 models are also performed with an atmospheric component model by testing the relationship between climate change forcings and model simulated response. The information derived from each study is used to determine the progressive quality of coupled climate models in simulating the global water cycle by rigorously investigating sources of model bias related to the moisture budget. As such, the conclusions of this project are highly relevant to model development and potentially may be used to further improve climate projections.
ContributorsBaker, Noel C (Author) / Huang, Huei-Ping (Thesis advisor) / Trimble, Steve (Committee member) / Anderson, James (Committee member) / Clarke, Amanda (Committee member) / Calhoun, Ronald (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT A vortex tube is a device of a simple structure with no moving parts that can be used to separate a compressed gas into a hot stream and a cold stream. Many studies have been carried out to find the mechanisms of the energy separation in the vortex tube. Recent rapid development in computational fluid dynamics is providing a powerful tool to investigate the complex flow in the vortex tube. However various issues in these numerical simulations remain, such as choosing the most suitable turbulent model, as well as the lack of systematic comparative analysis. LES model for the vortex tube simulation is hardly used in the present literatures, and the influence of parameters on the performance of the vortex tube has scarcely been studied. This study is aimed to find the influence of various parameters on the performance of the vortex tube, the best geometric value of vortex tube and the realizable method to reach the required cold out flow rate 40 kg/s . First of all, setting up an original 3-D simulation vortex tube model. By comparing experiment results reported in the literature and our simulation results, a most suitable model for the simulation of the vortex tube is obtained. Secondly, we perform simulations to optimize parameters that can deliver a set of desired output, such as cold stream pressure, temperature and flow-rate. We also discuss the use of the cold air flow for petroleum engineering applications.
ContributorsCang, Ruijin (Author) / Chen, Kangping (Thesis advisor) / Huang, Hueiping (Committee member) / Calhoun, Ronald (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information.
ContributorsMalloy, Jason Patrick (Author) / Ericson, John (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Modern day gas turbine designers face the problem of hot mainstream gas ingestion into rotor-stator disk cavities. To counter this ingestion, seals are installed on the rotor and stator disk rims and purge air, bled off from the compressor, is injected into the cavities. It is desirable to reduce the supply of purge air as this decreases the net power output as well as efficiency of the gas turbine. Since the purge air influences the disk cavity flow field and effectively the amount of ingestion, the aim of this work was to study the cavity velocity field experimentally using Particle Image Velocimetry (PIV). Experiments were carried out in a model single-stage axial flow turbine set-up that featured blades as well as vanes, with purge air supplied at the hub of the rotor-stator disk cavity. Along with the rotor and stator rim seals, an inner labyrinth seal was provided which split the disk cavity into a rim cavity and an inner cavity. First, static gage pressure distribution was measured to ensure that nominally steady flow conditions had been achieved. The PIV experiments were then performed to map the velocity field on the radial-tangential plane within the rim cavity at four axial locations. Instantaneous velocity maps obtained by PIV were analyzed sector-by-sector to understand the rim cavity flow field. It was observed that the tangential velocity dominated the cavity flow at low purge air flow rate, its dominance decreasing with increase in the purge air flow rate. Radially inboard of the rim cavity, negative radial velocity near the stator surface and positive radial velocity near the rotor surface indicated the presence of a recirculation region in the cavity whose radial extent increased with increase in the purge air flow rate. Qualitative flow streamline patterns are plotted within the rim cavity for different experimental conditions by combining the PIV map information with ingestion measurements within the cavity as reported in Thiagarajan (2013).
ContributorsPathak, Parag (Author) / Roy, Ramendra P (Thesis advisor) / Calhoun, Ronald (Committee member) / Lee, Taewoo (Committee member) / Arizona State University (Publisher)
Created2013
Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
Nelson Rolihlahla Mandela was born July 18, 1918 into the Madiba clan in Mvezo, Transkei, South Africa. Mandela was a lawyer by trade and a freedom fighter who envisioned freedom and equality for all South Africans regardless of race. In 1965, Mandela was imprisoned at Robben Island for twenty-seven years for treason and terrorist activities against the South African apartheid regime: he was assigned prison numbers 46664. In 1992, Mandela was released from prison and two years later not only became the first democratically elected president of South Africa, but also its first black president. "Madiba 46664" is an eight-minute chamber work scored for flute, oboe, clarinet in B-flat, and bassoon; vibraphone, and two percussionists; piano; violins, violas, and celli. The work blends traditional South African rhythms of the drumming culture with elements of Western harmony and form in contrasting textures of homophony, polyphony and antiphony. "Madiba 46664" utilizes Mandela's prison number, birthdate and age (at the time the composition process began in 2013) for the initial generation of meter, rhythm, harmony, melody, and form. The work also shares intercultural concepts that can be seen in the works of three contemporary African composers, South Africans Jeanne Zaidel-Rudolph and Andile Khumalo, and Nigerian Ayo Oluranti. Each section represents a period of Mandela's life as a freedom fighter, a prisoner, and a president. The inspiration stems from the composer's discussions with Mandela soon after his release from prison and prior to his presidency. These lively discussions pertained to the state of traditional music in then apartheid South Africa and led to this creation. The conversations also played a role in the creative process.
ContributorsMabingnai, Collette Sipho (Composer) / DeMars, James (Thesis advisor) / Hackbarth, Glenn (Committee member) / Humphreys, Jere (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2014
Description
Climate change has been one of the major issues of global economic and social concerns in the past decade. To quantitatively predict global climate change, the Intergovernmental Panel on Climate Change (IPCC) of the United Nations have organized a multi-national effort to use global atmosphere-ocean models to project anthropogenically induced climate changes in the 21st century. The computer simulations performed with those models and archived by the Coupled Model Intercomparison Project - Phase 5 (CMIP5) form the most comprehensive quantitative basis for the prediction of global environmental changes on decadal-to-centennial time scales. While the CMIP5 archives have been widely used for policy making, the inherent biases in the models have not been systematically examined. The main objective of this study is to validate the CMIP5 simulations of the 20th century climate with observations to quantify the biases and uncertainties in state-of-the-art climate models. Specifically, this work focuses on three major features in the atmosphere: the jet streams over the North Pacific and Atlantic Oceans and the low level jet (LLJ) stream over central North America which affects the weather in the United States, and the near-surface wind field over North America which is relevant to energy applications. The errors in the model simulations of those features are systematically quantified and the uncertainties in future predictions are assessed for stakeholders to use in climate applications. Additional atmospheric model simulations are performed to determine the sources of the errors in climate models. The results reject a popular idea that the errors in the sea surface temperature due to an inaccurate ocean circulation contributes to the errors in major atmospheric jet streams.
ContributorsKulkarni, Sujay (Author) / Huang, Huei-Ping (Thesis advisor) / Calhoun, Ronald (Committee member) / Peet, Yulia (Committee member) / Arizona State University (Publisher)
Created2014
Description
Preservation Symphony is a short, multi-movement, orchestral composition that explores the versatility of the [016] pitch class set as the dominant unifying force of this cyclical work. The composition is scored for Piccolo, two Flutes, two Oboes, English Horn, two Clarinets, Bass Clarinet, full complement of Brass, Timpani, two Percussionists, and Strings. Movement one is in sonata form; the [016] set is used in structuring its overall formal scheme. The primary focus of the movement is on the tritone [0 6] as a replacement for the traditional tonic and dominant polarity. The movement features a driving force that alternates between pulse subdivisions of even sixteenth notes and sixteenth-note triplets. Movement two is in simple binary form with a central tonality of A. An English Horn solo functions as both the opening of the movement and a transition from the tonality of movement one (F) into the new tonal center of A. The unifying pitch class set [016] is used in this movement in a Phrygian context. Movement two has a contemplative and dark tone, which is in stark contrast to the outer movements. Movement three has a lighter, upbeat nature. The movement is in rondo form with its main theme written in a folk-like character. This movement returns to F as the central tonality, completing the overall tonal plan of the work. As in movement one, it explores the tritone polarity of F and B. The movement also revisits the chromatic mediant relationship found in the middle of movement two in the oboes. The pitch class set is now used in the context of a Lydian-Mixolydian (or acoustic) scale, from which both the central and secondary themes of the rondo are derived.
ContributorsKemp, Tyler (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014