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.
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- Creators: Rogers, Rodney
- Creators: Herrmann, Marcus
Description
Several contemporary clarinet works use Chinese folk music elements from different regions in new compositions to entice listener's and performer's appreciation of Chinese culture. However, to date, limited academic research on this topic exists. This research paper introduces six contemporary clarinet works by six Chinese composers: Qigang Chen's Morning Song, Yan Wang's Mu ma zhi ge (The Song of Grazing Horses), An-lun Huang's Capriccio for Clarinet and Strings Op. 41, Bijing Hu's The Sound of Pamir Clarinet Concerto, Mei-Mi Lan's Concerto for Clarinet and String Orchestra with Harp and Percussion, and Yu-Hui Chang's Three Fantasias for Solo Clarinet in B-flat. They are examined from different perspectives, including general structure, style, and rejuvenated folk music use. The focus of this research paper is to investigate the use of Chinese folk music in several works in collaboration with the composers. The author found that although contemporary composers use Chinese folk music differently in their works (i.e., some use melodies, others use harmony, while others use modes), each work celebrates the music and culture of the folk music on which the pieces are based. It is the author's hope to stimulate people's interest in music using Chinese folk music elements, and bring these lesser known works into the common clarinet repertoire.
ContributorsFeng, Chiao-Ting (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Committee member) / Micklich, Albie (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
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
A new theoretical model was developed utilizing energy conservation methods in order to determine the fully-atomized cross-sectional Sauter mean diameters of pressure-swirl atomizers. A detailed boundary-layer assessment led to the development of a new viscous dissipation model for droplets in the spray. Integral momentum methods were also used to determine the complete velocity history of the droplets and entrained gas in the spray. The model was extensively validated through comparison with experiment and it was found that the model could predict the correct droplet size with high accuracy for a wide range of operating conditions. Based on detailed analysis, it was found that the energy model has a tendency to overestimate the droplet diameters for very low injection velocities, Weber numbers, and cone angles. A full parametric study was also performed in order to unveil some underlying behavior of pressure-swirl atomizers. It was found that at high injection velocities, the kinetic energy in the spray is significantly larger than the surface tension energy, therefore, efforts into improving atomization quality by changing the liquid's surface tension may not be the most productive. From the parametric studies it was also shown how the Sauter mean diameter and entrained velocities vary with increasing ambient gas density. Overall, the present energy model has the potential to provide quick and reasonably accurate solutions for a wide range of operating conditions enabling the user to determine how different injection parameters affect the spray quality.
ContributorsMoradi, Ali (Author) / Lee, Taewoo (Thesis advisor) / Herrmann, Marcus (Committee member) / Huang, Huei-Ping (Committee member) / Arizona State University (Publisher)
Created2013
Description
The atomization of a liquid jet by a high speed cross-flowing gas has many applications such as gas turbines and augmentors. The mechanisms by which the liquid jet initially breaks up, however, are not well understood. Experimental studies suggest the dependence of spray properties on operating conditions and nozzle geom- etry. Detailed numerical simulations can offer better understanding of the underlying physical mechanisms that lead to the breakup of the injected liquid jet. In this work, detailed numerical simulation results of turbulent liquid jets injected into turbulent gaseous cross flows for different density ratios is presented. A finite volume, balanced force fractional step flow solver to solve the Navier-Stokes equations is employed and coupled to a Refined Level Set Grid method to follow the phase interface. To enable the simulation of atomization of high density ratio fluids, we ensure discrete consistency between the solution of the conservative momentum equation and the level set based continuity equation by employing the Consistent Rescaled Momentum Transport (CRMT) method. The impact of different inflow jet boundary conditions on different jet properties including jet penetration is analyzed and results are compared to those obtained experimentally by Brown & McDonell(2006). In addition, instability analysis is performed to find the most dominant insta- bility mechanism that causes the liquid jet to breakup. Linear instability analysis is achieved using linear theories for Rayleigh-Taylor and Kelvin- Helmholtz instabilities and non-linear analysis is performed using our flow solver with different inflow jet boundary conditions.
ContributorsGhods, Sina (Author) / Herrmann, Marcus (Thesis advisor) / Squires, Kyle (Committee member) / Chen, Kangping (Committee member) / Huang, Huei-Ping (Committee member) / Tang, Wenbo (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.
ContributorsKalantzi, Panagiota (Author) / Jiang, Danwen (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of this project is twofold: to contribute to the literature of chamber ensembles comprising mixed wind, string, and percussion instruments by producing arrangements of three piano rags by William Bolcom; and to highlight Bolcom's pivotal role in the ragtime revival of the 1960's and 1970's. Through his influence as a scholar, composer, and performer, Bolcom (b. 1938), one of the most prominent American composers of his generation, helped garner respect for ragtime as art music and as one of America's great popular music genres. Bolcom's 3 Ghost Rags were written in the tradition of classic piano rags, but with a compositional sensibility that is influenced by the fifty years that separate them from the close of the original ragtime era. The basis for the present orchestrations of 3 Ghost Rags is the collection of instrumental arrangements of piano rags published by Stark Publishing Co., entitled Standard High-Class Rags. More familiarly known as the "Red Back Book," this publication was representative of the exchange of repertoire between piano and ensembles and served as a repertory for the various ragtime revivals that occurred later in the twentieth century. In creating these orchestrations of Bolcom's piano rags, the author strove to provide another medium in which Bolcom's music could be performed, while orchestrating the music for an historically appropriate ensemble.
ContributorsMelley, Eric Charles (Author) / Hill, Gary W. (Thesis advisor) / Bailey, Wayne (Committee member) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Russell, Timothy (Committee member) / Arizona State University (Publisher)
Created2013
Description
The heat transfer enhancements available from expanding the cross-section of a boiling microchannel are explored analytically and experimentally. Evaluation of the literature on critical heat flux in flow boiling and associated pressure drop behavior is presented with predictive critical heat flux (CHF) and pressure drop correlations. An optimum channel configuration allowing maximum CHF while reducing pressure drop is sought. A perturbation of the channel diameter is employed to examine CHF and pressure drop relationships from the literature with the aim of identifying those adequately general and suitable for use in a scenario with an expanding channel. Several CHF criteria are identified which predict an optimizable channel expansion, though many do not. Pressure drop relationships admit improvement with expansion, and no optimum presents itself. The relevant physical phenomena surrounding flow boiling pressure drop are considered, and a balance of dimensionless numbers is presented that may be of qualitative use. The design, fabrication, inspection, and experimental evaluation of four copper microchannel arrays of different channel expansion rates with R-134a refrigerant is presented. Optimum rates of expansion which maximize the critical heat flux are considered at multiple flow rates, and experimental results are presented demonstrating optima. The effect of expansion on the boiling number is considered, and experiments demonstrate that expansion produces a notable increase in the boiling number in the region explored, though no optima are observed. Significant decrease in the pressure drop across the evaporator is observed with the expanding channels, and no optima appear. Discussion of the significance of this finding is presented, along with possible avenues for future work.
ContributorsMiner, Mark (Author) / Phelan, Patrick E (Thesis advisor) / Baer, Steven (Committee member) / Chamberlin, Ralph (Committee member) / Chen, Kangping (Committee member) / Herrmann, Marcus (Committee member) / Arizona State University (Publisher)
Created2013
Description
The numerical climate models have provided scientists, policy makers and the general public, crucial information for climate projections since mid-20th century. An international effort to compare and validate the simulations of all major climate models is organized by the Coupled Model Intercomparison Project (CMIP), which has gone through several phases since 1995 with CMIP5 being the state of the art. In parallel, an organized effort to consolidate all observational data in the past century culminates in the creation of several "reanalysis" datasets that are considered the closest representation of the true observation. This study compared the climate variability and trend in the climate model simulations and observations on the timescales ranging from interannual to centennial. The analysis focused on the dynamic climate quantity of zonal-mean zonal wind and global atmospheric angular momentum (AAM), and incorporated multiple datasets from reanalysis and the most recent CMIP3 and CMIP5 archives. For the observation, the validation of AAM by the length-of-day (LOD) and the intercomparison of AAM revealed a good agreement among reanalyses on the interannual and the decadal-to-interdecadal timescales, respectively. But the most significant discrepancies among them are in the long-term mean and long-term trend. For the simulations, the CMIP5 models produced a significantly smaller bias and a narrower ensemble spread of the climatology and trend in the 20th century for AAM compared to CMIP3, while CMIP3 and CMIP5 simulations consistently produced a positive trend for the 20th and 21st century. Both CMIP3 and CMIP5 models produced a wide range of the magnitudes of decadal and interdecadal variability of wind component of AAM (MR) compared to observation. The ensemble means of CMIP3 and CMIP5 are not statistically distinguishable for either the 20th- or 21st-century runs. The in-house atmospheric general circulation model (AGCM) simulations forced by the sea surface temperature (SST) taken from the CMIP5 simulations as lower boundary conditions were carried out. The zonal wind and MR in the CMIP5 simulations are well simulated in the AGCM simulations. This confirmed SST as an important mediator in regulating the global atmospheric changes due to GHG effect.
ContributorsPaek, Houk (Author) / Huang, Huei-Ping (Thesis advisor) / Adrian, Ronald (Committee member) / Wang, Zhihua (Committee member) / Anderson, James (Committee member) / Herrmann, Marcus (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