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: Montgomery, Douglas C.
Description
Nowadays product reliability becomes the top concern of the manufacturers and customers always prefer the products with good performances under long period. In order to estimate the lifetime of the product, accelerated life testing (ALT) is introduced because most of the products can last years even decades. Much research has been done in the ALT area and optimal design for ALT is a major topic. This dissertation consists of three main studies. First, a methodology of finding optimal design for ALT with right censoring and interval censoring have been developed and it employs the proportional hazard (PH) model and generalized linear model (GLM) to simplify the computational process. A sensitivity study is also given to show the effects brought by parameters to the designs. Second, an extended version of I-optimal design for ALT is discussed and then a dual-objective design criterion is defined and showed with several examples. Also in order to evaluate different candidate designs, several graphical tools are developed. Finally, when there are more than one models available, different model checking designs are discussed.
ContributorsYang, Tao (Author) / Pan, Rong (Thesis advisor) / Montgomery, Douglas C. (Committee member) / Borror, Connie (Committee member) / Rigdon, Steve (Committee member) / Arizona State University (Publisher)
Created2013
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
Nonregular screening designs can be an economical alternative to traditional resolution IV 2^(k-p) fractional factorials. Recently 16-run nonregular designs, referred to as no-confounding designs, were introduced in the literature. These designs have the property that no pair of main effect (ME) and two-factor interaction (2FI) estimates are completely confounded. In this dissertation, orthogonal arrays were evaluated with many popular design-ranking criteria in order to identify optimal 20-run and 24-run no-confounding designs. Monte Carlo simulation was used to empirically assess the model fitting effectiveness of the recommended no-confounding designs. The results of the simulation demonstrated that these new designs, particularly the 24-run designs, are successful at detecting active effects over 95% of the time given sufficient model effect sparsity. The final chapter presents a screening design selection methodology, based on decision trees, to aid in the selection of a screening design from a list of published options. The methodology determines which of a candidate set of screening designs has the lowest expected experimental cost.
ContributorsStone, Brian (Author) / Montgomery, Douglas C. (Thesis advisor) / Silvestrini, Rachel T. (Committee member) / Fowler, John W (Committee member) / Borror, Connie M. (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
This dissertation explores different methodologies for combining two popular design paradigms in the field of computer experiments. Space-filling designs are commonly used in order to ensure that there is good coverage of the design space, but they may not result in good properties when it comes to model fitting. Optimal designs traditionally perform very well in terms of model fitting, particularly when a polynomial is intended, but can result in problematic replication in the case of insignificant factors. By bringing these two design types together, positive properties of each can be retained while mitigating potential weaknesses. Hybrid space-filling designs, generated as Latin hypercubes augmented with I-optimal points, are compared to designs of each contributing component. A second design type called a bridge design is also evaluated, which further integrates the disparate design types. Bridge designs are the result of a Latin hypercube undergoing coordinate exchange to reach constrained D-optimality, ensuring that there is zero replication of factors in any one-dimensional projection. Lastly, bridge designs were augmented with I-optimal points with two goals in mind. Augmentation with candidate points generated assuming the same underlying analysis model serves to reduce the prediction variance without greatly compromising the space-filling property of the design, while augmentation with candidate points generated assuming a different underlying analysis model can greatly reduce the impact of model misspecification during the design phase. Each of these composite designs are compared to pure space-filling and optimal designs. They typically out-perform pure space-filling designs in terms of prediction variance and alphabetic efficiency, while maintaining comparability with pure optimal designs at small sample size. This justifies them as excellent candidates for initial experimentation.
ContributorsKennedy, Kathryn (Author) / Montgomery, Douglas C. (Thesis advisor) / Johnson, Rachel T. (Thesis advisor) / Fowler, John W (Committee member) / Borror, Connie M. (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
During the initial stages of experimentation, there are usually a large number of factors to be investigated. Fractional factorial (2^(k-p)) designs are particularly useful during this initial phase of experimental work. These experiments often referred to as screening experiments help reduce the large number of factors to a smaller set. The 16 run regular fractional factorial designs for six, seven and eight factors are in common usage. These designs allow clear estimation of all main effects when the three-factor and higher order interactions are negligible, but all two-factor interactions are aliased with each other making estimation of these effects problematic without additional runs. Alternatively, certain nonregular designs called no-confounding (NC) designs by Jones and Montgomery (Jones & Montgomery, Alternatives to resolution IV screening designs in 16 runs, 2010) partially confound the main effects with the two-factor interactions but do not completely confound any two-factor interactions with each other. The NC designs are useful for independently estimating main effects and two-factor interactions without additional runs. While several methods have been suggested for the analysis of data from nonregular designs, stepwise regression is familiar to practitioners, available in commercial software, and is widely used in practice. Given that an NC design has been run, the performance of stepwise regression for model selection is unknown. In this dissertation I present a comprehensive simulation study evaluating stepwise regression for analyzing both regular fractional factorial and NC designs. Next, the projection properties of the six, seven and eight factor NC designs are studied. Studying the projection properties of these designs allows the development of analysis methods to analyze these designs. Lastly the designs and projection properties of 9 to 14 factor NC designs onto three and four factors are presented. Certain recommendations are made on analysis methods for these designs as well.
ContributorsShinde, Shilpa (Author) / Montgomery, Douglas C. (Thesis advisor) / Borror, Connie (Committee member) / Fowler, John (Committee member) / Jones, Bradley (Committee member) / Arizona State University (Publisher)
Created2012
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