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 66
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Topological insulators with conducting surface states yet insulating bulk states have generated a lot of interest amongst the physics community due to their varied characteristics and possible applications. Doped topological insulators have presented newer physical states of matter where topological order co&ndashexists; with other physical properties (like magnetic order). The electronic states of these materials are very intriguing and pose problems and the possible solutions to understanding their unique behaviors. In this work, we use Electron Energy Loss Spectroscopy (EELS) – an analytical TEM tool to study both core&ndashlevel; and valence&ndashlevel; excitations in Bi2Se3 and Cu(doped)Bi2Se3 topological insulators. We use this technique to retrieve information on the valence, bonding nature, co-ordination and lattice site occupancy of the undoped and the doped systems. Using the reference materials Cu(I)Se and Cu(II)Se we try to compare and understand the nature of doping that copper assumes in the lattice. And lastly we utilize the state of the art monochromated Nion UltraSTEM 100 to study electronic/vibrational excitations at a record energy resolution from sub-nm regions in the sample.
ContributorsSubramanian, Ganesh (Author) / Spence, John (Thesis advisor) / Jiang, Nan (Committee member) / Chen, Tingyong (Committee member) / Chan, Candace (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
ContributorsAmes, Elizabeth (Pianist) (Author) / Ryan, Russell (Thesis advisor) / Levy, Benjamin (Committee member) / Hill, Gary (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2013
Description
The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing simply did not exist. Any prior application of scientific study to the voice was based primarily upon auditory evaluation, rather than objective data accumulation and assessment. After a centuries-long history, within a span of twenty years, vocal pedagogy evolved from an approach solely derived from subjective, auditory evidence to an application grounded in scientific data. By means of analysis of significant publications by Richard Miller, Robert Sataloff, and Ingo Titze, as well as articles from The Journal of Singing and The Journal of Voice, I establish a baseline of scientific knowledge and pedagogic practice ca. 1980. Analysis and comparison of a timeline of advancement in scientific insight and the discussion of science in pedagogical texts, 1980-2000, reveal the extent to which voice teachers have dramatically changed their method of instruction. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do, via auditory demonstration and visual imagery, to validating with scientific data how and why students should change their vocal approach. The consequence of this dramatic pedagogic evolution has produced singers who comprehend more fully the science of their art.
ContributorsVelarde, Rachel (Author) / Doan, Jerry (Thesis advisor) / Campbell, Andrew (Committee member) / Solis, Theodore (Committee member) / Elgar Kopta, Anne (Committee member) / Britton, David (Committee member) / Arizona State University (Publisher)
Created2013
Description
Dealloying, the selective dissolution of an elemental component from an alloy, is an important corrosion mechanism and a technological significant means to fabricate nanoporous structures for a variety of applications. In noble metal alloys, dealloying proceeds above a composition dependent critical potential, and bi-continuous structure evolves "simultaneously" as a result of the interplay between percolation dissolution and surface diffusion. In contrast, dealloying in alloys that show considerable solid-state mass transport at ambient temperature is largely unexplored despite its relevance to nanoparticle catalysts and Li-ion anodes. In my dissertation, I discuss the behaviors of two alloy systems in order to elucidate the role of bulk lattice diffusion in dealloying. First, Mg-Cd alloys are chosen to show that when the dealloying is controlled by bulk diffusion, a new type of porosity - negative void dendrites will form, and the process mirrors electrodeposition. Then, Li-Sn alloys are studied with respect to the composition, particle size and dealloying rate effects on the morphology evolution. Under the right condition, dealloying of Li-Sn supported by percolation dissolution results in the same bi-continuous structure as nanoporous noble metals; whereas lattice diffusion through the otherwise "passivated" surface allows for dealloying with no porosity evolution. The interactions between bulk diffusion, surface diffusion and dissolution are revealed by chronopotentiometry and linear sweep voltammetry technics. The better understanding of dealloying from these experiments enables me to construct a brief review summarizing the electrochemistry and morphology aspects of dealloying as well as offering interpretations to new observations such as critical size effect and encased voids in nanoporous gold. At the end of the dissertation, I will describe a preliminary attempt to generalize the morphology evolution "rules of dealloying" to all solid-to-solid interfacial controlled phase transition process, demonstrating that bi-continuous morphologies can evolve regardless of the nature of parent phase.
ContributorsChen, Qing (Author) / Sieradzki, Karl (Thesis advisor) / Friesen, Cody (Committee member) / Buttry, Daniel (Committee member) / Chan, Candace (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Sonata for Violin and Piano in E-flat Major, Op. 18 (1888), was the last major work of chamber music by Richard Strauss (1864-1949). Although for only two instruments, the Sonata reflects Strauss's growing interest in symphonic writing both in his tone poems and orchestral songs, anticipating his style of orchestration and his expressive use of tone colors. This study examines instances of orchestral writing in the piano and makes suggestions for their performance. An overview of Strauss's compositions, from his early chamber music to the `heroic' symphonic works, places the Sonata in context. An analytical description of each of the Sonata's three movements shows the structure and content of this large work and provides the framework for examination of the orchestral effects in the piano. Comparison of excerpts from the Sonata with passages from Strauss's orchestral writing in Don Juan (1889), "Cäcilie," "Morgen!," and "Lied der Frauen" leads to suggestions for the collaborative pianist of ways to re-create the various orchestral effects.
ContributorsNixon, Thomas (Pianist) (Author) / Ryan, Russell R (Thesis advisor) / Campbell, Andrew (Committee member) / FitzPatrick, Carole (Committee member) / Hamilton, Robert (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2014
Description
Membrane-based gas separation is promising for efficient propylene/propane (C3H6/C3H8) separation with low energy consumption and minimum environment impact. Two microporous inorganic membrane candidates, MFI-type zeolite membrane and carbon molecular sieve membrane (CMS) have demonstrated excellent thermal and chemical stability. Application of these membranes into C3H6/C3H8 separation has not been well investigated. This dissertation presents fundamental studies on membrane synthesis, characterization and C3H6/C3H8 separation properties of MFI zeolite membrane and CMS membrane.
MFI zeolite membranes were synthesized on α-alumina supports by secondary growth method. Novel positron annihilation spectroscopy (PAS) techniques were used to non-destructively characterize the pore structure of these membranes. PAS reveals a bimodal pore structure consisting of intracrystalline zeolitic micropores of ~0.6 nm in diameter and irregular intercrystalline micropores of 1.4 to 1.8 nm in size for the membranes. The template-free synthesized membrane exhibited a high permeance but a low selectivity in C3H6/C3H8 mixture separation.
CMS membranes were synthesized by coating/pyrolysis method on mesoporous γ-alumina support. Such supports allow coating of thin, high-quality polymer films and subsequent CMS membranes with no infiltration into support pores. The CMS membranes show strong molecular sieving effect, offering a high C3H6/C3H8 mixture selectivity of ~30. Reduction in membrane thickness from 500 nm to 300 nm causes an increase in C3H8 permeance and He/N2 selectivity, but a decrease in the permeance of He, N2 and C3H6 and C3H6/C3H8 selectivity. This can be explained by the thickness dependent chain mobility of the polymer film resulting in final carbon membrane of reduced pore size with different effects on transport of gas of different sizes, including possible closure of C3H6-accessible micropores.
CMS membranes demonstrate excellent C3H6/C3H8 separation performance over a wide range of feed pressure, composition and operation temperature. No plasticization was observed at a feed pressure up to 100 psi. The permeation and separation is mainly controlled by diffusion instead of adsorption. CMS membrane experienced a decline in permeance, and an increase in selectivity over time under on-stream C3H6/C3H8 separation. This aging behavior is due to the reduction in effective pore size and porosity caused by oxygen chemisorption and physical aging of the membrane structure.
MFI zeolite membranes were synthesized on α-alumina supports by secondary growth method. Novel positron annihilation spectroscopy (PAS) techniques were used to non-destructively characterize the pore structure of these membranes. PAS reveals a bimodal pore structure consisting of intracrystalline zeolitic micropores of ~0.6 nm in diameter and irregular intercrystalline micropores of 1.4 to 1.8 nm in size for the membranes. The template-free synthesized membrane exhibited a high permeance but a low selectivity in C3H6/C3H8 mixture separation.
CMS membranes were synthesized by coating/pyrolysis method on mesoporous γ-alumina support. Such supports allow coating of thin, high-quality polymer films and subsequent CMS membranes with no infiltration into support pores. The CMS membranes show strong molecular sieving effect, offering a high C3H6/C3H8 mixture selectivity of ~30. Reduction in membrane thickness from 500 nm to 300 nm causes an increase in C3H8 permeance and He/N2 selectivity, but a decrease in the permeance of He, N2 and C3H6 and C3H6/C3H8 selectivity. This can be explained by the thickness dependent chain mobility of the polymer film resulting in final carbon membrane of reduced pore size with different effects on transport of gas of different sizes, including possible closure of C3H6-accessible micropores.
CMS membranes demonstrate excellent C3H6/C3H8 separation performance over a wide range of feed pressure, composition and operation temperature. No plasticization was observed at a feed pressure up to 100 psi. The permeation and separation is mainly controlled by diffusion instead of adsorption. CMS membrane experienced a decline in permeance, and an increase in selectivity over time under on-stream C3H6/C3H8 separation. This aging behavior is due to the reduction in effective pore size and porosity caused by oxygen chemisorption and physical aging of the membrane structure.
ContributorsMa, Xiaoli (Author) / Lin, Jerry (Thesis advisor) / Alford, Terry (Committee member) / Chan, Candace (Committee member) / Arizona State University (Publisher)
Created2015
Description
Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience.
ContributorsCrane-Waleczek, Jennifer (Author) / Hamilton, Robert (Thesis advisor) / Hackbarth, Glenn (Committee member) / Meyer Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2011
Description
Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango songs are presented here: "Elegante Papirusa" by Tito Roccatagliata, "A La Gran Muñeca" by Jesús Ventura, and "La Cotorrita" by Samuel Castriota. The arrangements follow the style of three early recordings produced by The Victor Talking Machine in 1920 and 1922, as performed by two authentic Argentine orquesta típicas: Orquesta Típica Select and Orquesta Típica Fresedo. A brief history of the style and instrumental evolution of tango music from its influences and origins up until 1920 is discussed, followed by a detailed account of the musicians and circumstances involved in the three early recordings. An explanation of the issues encountered by the author in adapting the early tango style to the brass quintet setting is discussed, along with the solutions realized in order to make the project successful and practical for a moderately advanced brass quintet. The full brass quintet scores are provided as part of the Appendix.
ContributorsCamacho, Gustavo (Musician) (Author) / Ericson, John Q (Thesis advisor) / Pilafian, Samuel (Committee member) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2011
Description
As clarinet compositions created by Taiwanese composers have not been widely discussed and published in academia, this research paper examines three unaccompanied clarinet works by three Taiwanese composers: Ballade by Hsiao-Wen Tseng, Chin Thoughts III by Ling-Huei Tsai, and Pointe de Flame by Chia-Lin Pan, all commissioned by the author in 2007. This research also includes a compact disc with recordings of these works, aiming to document the creativity of Taiwanese composers. This research paper examines these three commissioned works by analyzing their overall musical styles, notations, formal structures, rhythmical and melodic materials, unconventional clarinet techniques as well as the influence of Chinese musical elements. The analysis reveals the distinctive characteristic of each piece. Moreover, the author provides composers' insights and performance guides to help interested readers practice these pieces. To further understand how the composers create these pieces by drawing upon different life experiences, the paper also includes information about their backgrounds, program notes, lists of compositions, and music examples for reference. The author found that collaborating with these composers helped to establish a closer composer-performer relationship in interpreting the music. It is hoped that this compact disc recording will help make Taiwanese composers' clarinet works more accessible to a wider audience. Moreover, this research paper hopes to generate more interest in performing and appreciating music composed by Taiwanese composers.
ContributorsChuang, Yenting (Author) / Spring, Robert (Thesis advisor) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Jiang, Danwen (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2011