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 85
Description
In addition to his many other works, Russian-American composer Leo Ornstein (1893-2002) contributed a substantial body of literature for cello and piano, including Sonata No. 1 (1915-1916), Sonata No. 2 (circa 1920), Composition No. 1 (date unknown), Two Pieces (date unknown), and Six Preludes (1930-1931). His cello music is an eclectic mix of twentieth-century Neoromantic and atonal styles. This study includes a recording of the complete works for cello and piano by Leo Ornstein and a description of the music that details the formal procedures and how the cello and piano relate to one another. The discussion offers extensive musical examples in support of the descriptions. The recording was completed at the Banff Centre for the Arts in Alberta, Canada (October 2009), with R. Nicolas Alvarez, cello, in collaboration with pianist Keith Kirchoff. Andre Shrimski produced and edited the recording.
ContributorsAlvarez, Rodolfo Nicolas (Author) / Landschoot, Thomas (Thesis advisor) / Rotaru, Catalin (Committee member) / Jiang, Danwen (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2013
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
With the rapid development of mobile sensing technologies like GPS, RFID, sensors in smartphones, etc., capturing position data in the form of trajectories has become easy. Moving object trajectory analysis is a growing area of interest these days owing to its applications in various domains such as marketing, security, traffic monitoring and management, etc. To better understand movement behaviors from the raw mobility data, this doctoral work provides analytic models for analyzing trajectory data. As a first contribution, a model is developed to detect changes in trajectories with time. If the taxis moving in a city are viewed as sensors that provide real time information of the traffic in the city, a change in these trajectories with time can reveal that the road network has changed. To detect changes, trajectories are modeled with a Hidden Markov Model (HMM). A modified training algorithm, for parameter estimation in HMM, called m-BaumWelch, is used to develop likelihood estimates under assumed changes and used to detect changes in trajectory data with time. Data from vehicles are used to test the method for change detection. Secondly, sequential pattern mining is used to develop a model to detect changes in frequent patterns occurring in trajectory data. The aim is to answer two questions: Are the frequent patterns still frequent in the new data? If they are frequent, has the time interval distribution in the pattern changed? Two different approaches are considered for change detection, frequency-based approach and distribution-based approach. The methods are illustrated with vehicle trajectory data. Finally, a model is developed for clustering and outlier detection in semantic trajectories. A challenge with clustering semantic trajectories is that both numeric and categorical attributes are present. Another problem to be addressed while clustering is that trajectories can be of different lengths and also have missing values. A tree-based ensemble is used to address these problems. The approach is extended to outlier detection in semantic trajectories.
ContributorsKondaveeti, Anirudh (Author) / Runger, George C. (Thesis advisor) / Mirchandani, Pitu (Committee member) / Pan, Rong (Committee member) / Maciejewski, Ross (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation addresses the research challenge of developing efficient new methods for discovering useful patterns and knowledge in large volumes of electronically collected spatiotemporal activity data. I propose to analyze three types of such spatiotemporal activity data in a methodological framework that integrates spatial analysis, data mining, machine learning, and geovisualization techniques. Three different types of spatiotemporal activity data were collected through different data collection approaches: (1) crowd sourced geo-tagged digital photos, representing people's travel activity, were retrieved from the website Panoramio.com through information retrieval techniques; (2) the same techniques were used to crawl crowd sourced GPS trajectory data and related metadata of their daily activities from the website OpenStreetMap.org; and finally (3) preschool children's daily activities and interactions tagged with time and geographical location were collected with a novel TabletPC-based behavioral coding system. The proposed methodology is applied to these data to (1) automatically recommend optimal multi-day and multi-stay travel itineraries for travelers based on discovered attractions from geo-tagged photos, (2) automatically detect movement types of unknown moving objects from GPS trajectories, and (3) explore dynamic social and socio-spatial patterns of preschool children's behavior from both geographic and social perspectives.
ContributorsLi, Xun (Author) / Anselin, Luc (Thesis advisor) / Koschinsky, Julia (Committee member) / Maciejewski, Ross (Committee member) / Rey, Sergio (Committee member) / Griffin, William (Committee member) / Arizona State University (Publisher)
Created2012
Description
This document presents a new implementation of the Smoothed Particles Hydrodynamics algorithm using DirectX 11 and DirectCompute. The main goal of this document is to present to the reader an alternative solution to the largely studied and researched problem of fluid simulation. Most other solutions have been implemented using the NVIDIA CUDA framework; however, the proposed solution in this document uses the Microsoft general-purpose computing on graphics processing units API. The implementation allows for the simulation of a large number of particles in a real-time scenario. The solution presented here uses the Smoothed Particles Hydrodynamics algorithm to calculate the forces within the fluid; this algorithm provides a Lagrangian approach for discretizes the Navier-Stockes equations into a set of particles. Our solution uses the DirectCompute compute shaders to evaluate each particle using the multithreading and multi-core capabilities of the GPU increasing the overall performance. The solution then describes a method for extracting the fluid surface using the Marching Cubes method and the programmable interfaces exposed by the DirectX pipeline. Particularly, this document presents a method for using the Geometry Shader Stage to generate the triangle mesh as defined by the Marching Cubes method. The implementation results show the ability to simulate over 64K particles at a rate of 900 and 400 frames per second, not including the surface reconstruction steps and including the Marching Cubes steps respectively.
ContributorsFigueroa, Gustavo (Author) / Farin, Gerald (Thesis advisor) / Maciejewski, Ross (Committee member) / Wang, Yalin (Committee member) / Arizona State University (Publisher)
Created2012
Description
As an organist, church musician, and educator, Clifford Demarest (1874-1946) was a prominent figure in New York during the first half of the twentieth century. However, prior to this thesis, Demarest's place within the history of American music, like that of many of his contemporaries, was all but neglected. This research reveals Clifford Demarest as an influential figure in American musical history from around 1900 to his retirement in 1937. Led by contemporary accounts, I trace Demarest's musical influence through his three musical careers: professional organist, church musician, and educator. As a prominent figure in the fledgling American Guild of Organists, Demarest was dedicated to the unification of its members and the artistic legitimacy of the organist profession. As the organist and choir director of the Church of the Messiah, later the Community Church of New York (1911-1946, inclusive), Demarest played an integral part in the liberal atmosphere fostered by the congregation's minister, John Haynes Holmes (1879-1964). Together Holmes and Demarest directly influenced the nascent National Association for the Advancement of Colored People and supported luminaries of the Harlem Renaissance. Influential figures such as Langston Hughes (1902-1967), Augustus Granville Dill (1881-1956), Egbert Ethelred Brown (1875-1956), and Countee Cullen (1903-1946) were inspired by the liberal environment in the Church of the Messiah; however, prior to this research, their connections to the church were unexplored. As the music supervisor of Tenafly High School and later, for the state of New Jersey, Demarest influenced countless students through his passion for music. His compositions for student orchestras are among the earliest to elevate the artistic standards of school music ensembles during the first four decades of the twentieth century. Archival sources such as church records, letters, and newspaper editorials, are synthesized with current research to characterize Demarest's place in these three professional orbits of the early twentieth century. His story also represents those of countless other working musicians from his era that have been forgotten. Therefore, this research opens an important new research field – a window into the dynamic world of the American organist.
ContributorsHicks, Glen W (Author) / Saucier, Catherine (Thesis advisor) / Norton, Kay (Thesis advisor) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2014
Description
In blindness research, the corpus callosum (CC) is the most frequently studied sub-cortical structure, due to its important involvement in visual processing. While most callosal analyses from brain structural magnetic resonance images (MRI) are limited to the 2D mid-sagittal slice, we propose a novel framework to capture a complete set of 3D morphological differences in the corpus callosum between two groups of subjects. The CCs are segmented from whole brain T1-weighted MRI and modeled as 3D tetrahedral meshes. The callosal surface is divided into superior and inferior patches on which we compute a volumetric harmonic field by solving the Laplace's equation with Dirichlet boundary conditions. We adopt a refined tetrahedral mesh to compute the Laplacian operator, so our computation can achieve sub-voxel accuracy. Thickness is estimated by tracing the streamlines in the harmonic field. We combine areal changes found using surface tensor-based morphometry and thickness information into a vector at each vertex to be used as a metric for the statistical analysis. Group differences are assessed on this combined measure through Hotelling's T2 test. The method is applied to statistically compare three groups consisting of: congenitally blind (CB), late blind (LB; onset > 8 years old) and sighted (SC) subjects. Our results reveal significant differences in several regions of the CC between both blind groups and the sighted groups; and to a lesser extent between the LB and CB groups. These results demonstrate the crucial role of visual deprivation during the developmental period in reshaping the structural architecture of the CC.
ContributorsXu, Liang (Author) / Wang, Yalin (Thesis advisor) / Maciejewski, Ross (Committee member) / Ye, Jieping (Committee member) / Arizona State University (Publisher)
Created2013
Description
This paper and its accompanying recital examine three solo vocal works by Italian composer Alfredo Casella (1883-1947): "Larmes" from Cinq Mélodies (Op. 2); "Mort, ta servante est à ma porte" from L'adieu à la vie: Quatre lyriques funèbres extraites du "Gitanjali" de Rabindranath Tagore (Op. 26); and "Amante sono, vaghiccia, di voi" from Tre canzoni trecentesche (Op. 36). Each of these songs is discussed as representative of Casella's three compositional periods. A fourth song, "Ecce odor filii mei" from Tre canti sacri per baritono et organo (Op. 66), is also examined, as an end-of-life composition. Some of the more important solo vocal works composed in each period are mentioned to show where the four selected songs fit into Casella's compositional output and to suggest music for further study or repertoire.
ContributorsGordon, Stefan (Author) / Mills, Robert (Thesis advisor) / Holbrook, Amy (Committee member) / FitzPatrick, Carole (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2014