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 67
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
Micro Electro Mechanical Systems (MEMS) is one of the fastest growing field in silicon industry. Low cost production is key for any company to improve their market share. MEMS testing is challenging since input to test a MEMS device require physical stimulus like acceleration, pressure etc. Also, MEMS device vary with process and requires calibration to make them reliable. This increases test cost and testing time. This challenge can be overcome by combining electrical stimulus based testing along with statistical analysis on MEMS response for electrical stimulus and also limited physical stimulus response data. This thesis proposes electrical stimulus based built in self test(BIST) which can be used to get MEMS data and later this data can be used for statistical analysis. A capacitive MEMS accelerometer is considered to test this BIST approach. This BIST circuit overhead is less and utilizes most of the standard readout circuit. This thesis discusses accelerometer response for electrical stimulus and BIST architecture. As a part of this BIST circuit, a second order sigma delta modulator has been designed. This modulator has a sampling frequency of 1MHz and bandwidth of 6KHz. SNDR of 60dB is achieved with 1Vpp differential input signal and 3.3V supply
ContributorsKundur, Vinay (Author) / Bakkaloglu, Bertan (Committee member) / Ozev, Sule (Committee member) / Kiaei, Sayfe (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
The design and development of analog/mixed-signal (AMS) integrated circuits (ICs) is becoming increasingly expensive, complex, and lengthy. Rapid prototyping and emulation of analog ICs will be significant in the design and testing of complex analog systems. A new approach, Programmable ANalog Device Array (PANDA) that maps any AMS design problem to a transistor-level programmable hardware, is proposed. This approach enables fast system level validation and a reduction in post-Silicon bugs, minimizing design risk and cost. The unique features of the approach include 1) transistor-level programmability that emulates each transistor behavior in an analog design, achieving very fine granularity of reconfiguration; 2) programmable switches that are treated as a design component during analog transistor emulating, and optimized with the reconfiguration matrix; 3) compensation of AC performance degradation through boosting the bias current. Based on these principles, a digitally controlled PANDA platform is designed at 45nm node that can map AMS modules across 22nm to 90nm technology nodes. A systematic emulation approach to map any analog transistor to 45nm PANDA cell is proposed, which achieves transistor level matching accuracy of less than 5% for ID and less than 10% for Rout and Gm. Circuit level analog metrics of a voltage-controlled oscillator (VCO) emulated by PANDA, match to those of the original designs in 22nm and 90nm nodes with less than a 5% error. Several other 90nm and 22nm analog blocks are successfully emulated by the 45nm PANDA platform, including a folded-cascode operational amplifier and a sample-and-hold module (S/H). Further capabilities of PANDA are demonstrated by the first full-chip silicon of PANDA which is implemented on 65nm process This system consists of a 24×25 cell array, reconfigurable interconnect and configuration memory. The voltage and current reference circuits, op amps and a VCO with a phase interpolation circuit are emulated by PANDA.
ContributorsSuh, Jounghyuk (Author) / Bakkaloglu, Bertan (Thesis advisor) / Cao, Yu (Committee member) / Ozev, Sule (Committee member) / Kozicki, Michael (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
Mobile platforms are becoming highly heterogeneous by combining a powerful multiprocessor system-on-chip (MpSoC) with numerous resources including display, memory, power management IC (PMIC), battery and wireless modems into a compact package. Furthermore, the MpSoC itself is a heterogeneous resource that integrates many processing elements such as CPU cores, GPU, video, image, and audio processors. As a result, optimization approaches targeting mobile computing needs to consider the platform at various levels of granularity.
Platform energy consumption and responsiveness are two major considerations for mobile systems since they determine the battery life and user satisfaction, respectively. In this work, the models for power consumption, response time, and energy consumption of heterogeneous mobile platforms are presented. Then, these models are used to optimize the energy consumption of baseline platforms under power, response time, and temperature constraints with and without introducing new resources. It is shown, the optimal design choices depend on dynamic power management algorithm, and adding new resources is more energy efficient than scaling existing resources alone. The framework is verified through actual experiments on Qualcomm Snapdragon 800 based tablet MDP/T. Furthermore, usage of the framework at both design and runtime optimization is also presented.
Platform energy consumption and responsiveness are two major considerations for mobile systems since they determine the battery life and user satisfaction, respectively. In this work, the models for power consumption, response time, and energy consumption of heterogeneous mobile platforms are presented. Then, these models are used to optimize the energy consumption of baseline platforms under power, response time, and temperature constraints with and without introducing new resources. It is shown, the optimal design choices depend on dynamic power management algorithm, and adding new resources is more energy efficient than scaling existing resources alone. The framework is verified through actual experiments on Qualcomm Snapdragon 800 based tablet MDP/T. Furthermore, usage of the framework at both design and runtime optimization is also presented.
ContributorsGupta, Ujjwala (Author) / Ogras, Umit Y. (Thesis advisor) / Ozev, Sule (Committee member) / Chakrabarti, Chaitali (Committee member) / Arizona State University (Publisher)
Created2014
Description
High speed current-steering DACs with high linearity are needed in today's applications such as wired and wireless communications, instrumentation, radar, and other direct digital synthesis (DDS) applications. However, a trade-off exists between the speed and resolution of Nyquist rate current-steering DACs. As the resolution increases, more transistor area is required to meet matching requirements for optimal linearity and thus, the overall speed of the DAC is limited.
In this thesis work, a 12-bit current-steering DAC was designed with current sources scaled below the required matching size to decrease the area and increase the overall speed of the DAC. By scaling the current sources, however, errors due to random mismatch between current sources will arise and additional calibration hardware is necessary to ensure 12-bit linearity. This work presents how to implement a self-calibration DAC that works to fix amplitude errors while maintaining a lower overall area. Additionally, the DAC designed in this thesis investigates the implementation feasibility of a data-interleaved architecture. Data interleaving can increase the total bandwidth of the DACs by 2 with an increase in SQNR by an additional 3 dB.
The final results show that the calibration method can effectively improve the linearity of the DAC. The DAC is able to run up to 400 MSPS frequencies with a 75 dB SFDR performance and above 87 dB SFDR performance at update rates of 200 MSPS.
In this thesis work, a 12-bit current-steering DAC was designed with current sources scaled below the required matching size to decrease the area and increase the overall speed of the DAC. By scaling the current sources, however, errors due to random mismatch between current sources will arise and additional calibration hardware is necessary to ensure 12-bit linearity. This work presents how to implement a self-calibration DAC that works to fix amplitude errors while maintaining a lower overall area. Additionally, the DAC designed in this thesis investigates the implementation feasibility of a data-interleaved architecture. Data interleaving can increase the total bandwidth of the DACs by 2 with an increase in SQNR by an additional 3 dB.
The final results show that the calibration method can effectively improve the linearity of the DAC. The DAC is able to run up to 400 MSPS frequencies with a 75 dB SFDR performance and above 87 dB SFDR performance at update rates of 200 MSPS.
ContributorsJankunas, Benjamin (Author) / Bakkaloglu, Bertan (Thesis advisor) / Kitchen, Jennifer (Committee member) / Ozev, Sule (Committee member) / Arizona State University (Publisher)
Created2014
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