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 113
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
Norwegian composer Ola Gjeilo (b. 1978) is highly regarded as an accomplished and prolific composer of choral music. His creative output includes works for chorus, solo piano, and wind symphony. His unique style infuses elements of cinematic music, jazz and improvisation, with particularly intriguing selections of text. This study examines the factors that influence Gjeilo's compositional techniques, and the musical interpretations of conductor Charles Bruffy in his preparation for The Phoenix Chorale's recording Northern Lights: Choral Works by Ola Gjeilo. The eleven works discussed in this study are: The Ground, Evening Prayer, Ubi caritas, Prelude, Northern Lights, The Spheres, Tota pulchra es, Serenity, Phoenix (Agnus Dei), Unicornis captivatur, and Dark Night of the Soul. As a relatively new and young composer, there is very little published literature on Gjeilo and his works. This study provides an intimate glance into the creative process of the composer. By composing in multiple styles and with a variety of inspirational sources, Gjeilo creates a fresh approach toward composition of new choral music. His style is revealed through interviews and numerous collaborations with conductors and performers who have prepared and performed his music, as well through an examination of the eleven works recorded by The Phoenix Chorale.
ContributorsGarrison, Ryan Derrick (Author) / Reber, William (Thesis advisor) / Saucier, Catherine (Committee member) / Rockmaker, Jody (Committee member) / Doan, Jerry (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis presents a new arrangement of Richard Peaslee's trombone solo "Arrows of Time" for brass band. This arrangement adapts Peaslee's orchestration - and subsequent arrangement by Dr. Joshua Hauser for wind ensemble - for the modern brass band instrumentation and includes a full score. A brief biography of Richard Peaslee and his work accompanies this new arrangement, along with commentary on the orchestration of "Arrows of Time", and discussion of the evolution and adaptation of the work for wind ensemble by Dr. Hauser. The methodology used to adapt these versions for the brass band completes the background information.
ContributorsMalloy, Jason Patrick (Author) / Ericson, John (Thesis advisor) / Oldani, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2013
Description
The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.
ContributorsLanier, William Hudson (Author) / Koonce, Frank (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (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
Description
Preservation Symphony is a short, multi-movement, orchestral composition that explores the versatility of the [016] pitch class set as the dominant unifying force of this cyclical work. The composition is scored for Piccolo, two Flutes, two Oboes, English Horn, two Clarinets, Bass Clarinet, full complement of Brass, Timpani, two Percussionists, and Strings. Movement one is in sonata form; the [016] set is used in structuring its overall formal scheme. The primary focus of the movement is on the tritone [0 6] as a replacement for the traditional tonic and dominant polarity. The movement features a driving force that alternates between pulse subdivisions of even sixteenth notes and sixteenth-note triplets. Movement two is in simple binary form with a central tonality of A. An English Horn solo functions as both the opening of the movement and a transition from the tonality of movement one (F) into the new tonal center of A. The unifying pitch class set [016] is used in this movement in a Phrygian context. Movement two has a contemplative and dark tone, which is in stark contrast to the outer movements. Movement three has a lighter, upbeat nature. The movement is in rondo form with its main theme written in a folk-like character. This movement returns to F as the central tonality, completing the overall tonal plan of the work. As in movement one, it explores the tritone polarity of F and B. The movement also revisits the chromatic mediant relationship found in the middle of movement two in the oboes. The pitch class set is now used in the context of a Lydian-Mixolydian (or acoustic) scale, from which both the central and secondary themes of the rondo are derived.
ContributorsKemp, Tyler (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2014
Description
To uncover the neural correlates to go-directed behavior, single unit action potentials are considered fundamental computing units and have been examined by different analytical methodologies under a broad set of hypotheses. Using a behaving rat performing a directional choice learning task, we aim to study changes in rat's cortical neural patterns while he improved his task performance accuracy from chance to 80% or higher. Specifically, simultaneous multi-channel single unit neural recordings from the rat's agranular medial (AGm) and Agranular lateral (AGl) cortices were analyzed using joint peristimulus time histogram (JPSTHs), which effectively unveils firing coincidences in neural action potentials. My results based on data from six rats revealed that coincidences of pair-wise neural action potentials are higher when rats were performing the task than they were not at the learning stage, and this trend abated after the rats learned the task. Another finding is that the coincidences at the learning stage are stronger than that when the rats learned the task especially when they were performing the task. Therefore, this coincidence measure is the highest when the rats were performing the task at the learning stage. This may suggest that neural coincidences play a role in the coordination and communication among populations of neurons engaged in a purposeful act. Additionally, attention and working memory may have contributed to the modulation of neural coincidences during the designed task.
ContributorsCheng, Bing (Author) / Si, Jennie (Thesis advisor) / Chae, Junseok (Committee member) / Seo, Jae-Sun (Committee member) / Arizona State University (Publisher)
Created2014
Description
Photovoltaic (PV) systems are affected by converter losses, partial shading and other mismatches in the panels. This dissertation introduces a sub-panel maximum power point tracking (MPPT) architecture together with an integrated CMOS current sensor circuit on a chip to reduce the mismatch effects, losses and increase the efficiency of the PV system. The sub-panel MPPT increases the efficiency of the PV during the shading and replaces the bypass diodes in the panels with an integrated MPPT and DC-DC regulator. For the integrated MPPT and regulator, the research developed an integrated standard CMOS low power and high common mode range Current-to-Digital Converter (IDC) circuit and its application for DC-DC regulator and MPPT. The proposed charge based CMOS switched-capacitor circuit directly digitizes the output current of the DC-DC regulator without an analog-to-digital converter (ADC) and the need for high-voltage process technology. Compared to the resistor based current-sensing methods that requires current-to-voltage circuit, gain block and ADC, the proposed CMOS IDC is a low-power efficient integrated circuit that achieves high resolution, lower complexity, and lower power consumption. The IDC circuit is fabricated on a 0.7 um CMOS process, occupies 2mm x 2mm and consumes less than 27mW. The IDC circuit has been tested and used for boost DC-DC regulator and MPPT for photo-voltaic system. The DC-DC converter has an efficiency of 95%. The sub-module level power optimization improves the output power of a shaded panel by up to 20%, compared to panel MPPT with bypass diodes.
ContributorsMarti-Arbona, Edgar (Author) / Kiaei, Sayfe (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Kitchen, Jennifer (Committee member) / Seo, Jae-Sun (Committee member) / Arizona State University (Publisher)
Created2014
Description
This work describes the development of automated flows to generate pad rings, mixed signal power grids, and mega cells in a multi-project test chip. There were three major design flows that were created to create the test chip. The first was the pad ring which was used as the staring block for creating the test chip. This flow put all of the signals for the chip in the order that was wanted along the outside of the die along with creation of the power ring that is used to supply the chip with a robust power source.
The second flow that was created was used to put together a flash block that is based off of a XILIX XCFXXP. This flow was somewhat similar to how the pad ring flow worked except that optimizations and a clock tree was added into the flow. There was a couple of design redoes due to timing and orientation constraints.
Finally, the last flow that was created was the top level flow which is where all of the components are combined together to create a finished test chip ready for fabrication. The main components that were used were the finished flash block, HERMES, test structures, and a clock instance along with the pad ring flow for the creation of the pad ring and power ring.
Also discussed is some work that was done on a previous multi-project test chip. The work that was done was the creation of power gaters that were used like switches to turn the power on and off for some flash modules. To control the power gaters the functionality change of some pad drivers was done so that they output a higher voltage than what is seen in the core of the chip.
The second flow that was created was used to put together a flash block that is based off of a XILIX XCFXXP. This flow was somewhat similar to how the pad ring flow worked except that optimizations and a clock tree was added into the flow. There was a couple of design redoes due to timing and orientation constraints.
Finally, the last flow that was created was the top level flow which is where all of the components are combined together to create a finished test chip ready for fabrication. The main components that were used were the finished flash block, HERMES, test structures, and a clock instance along with the pad ring flow for the creation of the pad ring and power ring.
Also discussed is some work that was done on a previous multi-project test chip. The work that was done was the creation of power gaters that were used like switches to turn the power on and off for some flash modules. To control the power gaters the functionality change of some pad drivers was done so that they output a higher voltage than what is seen in the core of the chip.
ContributorsLieb, Christopher (Author) / Clark, Lawrence (Thesis advisor) / Holbert, Keith E. (Committee member) / Seo, Jae-Sun (Committee member) / Arizona State University (Publisher)
Created2015
Description
Switching Converters (SC) are an excellent choice for hand held devices due to their high power conversion efficiency. However, they suffer from two major drawbacks. The first drawback is that their dynamic response is sensitive to variations in inductor (L) and capacitor (C) values. A cost effective solution is implemented by designing a programmable digital controller. Despite variations in L and C values, the target dynamic response can be achieved by computing and programming the filter coefficients for a particular L and C. Besides, digital controllers have higher immunity to environmental changes such as temperature and aging of components. The second drawback of SCs is their poor efficiency during low load conditions if operated in Pulse Width Modulation (PWM) mode. However, if operated in Pulse Frequency Modulation (PFM) mode, better efficiency numbers can be achieved. A mostly-digital way of detecting PFM mode is implemented. Besides, a slow serial interface to program the chip, and a high speed serial interface to characterize mixed signal blocks as well as to ship data in or out for debug purposes are designed. The chip is taped out in 0.18µm IBM's radiation hardened CMOS process technology. A test board is built with the chip, external power FETs and driver IC. At the time of this writing, PWM operation, PFM detection, transitions between PWM and PFM, and both serial interfaces are validated on the test board.
ContributorsMumma Reddy, Abhiram (Author) / Bakkaloglu, Bertan (Thesis advisor) / Ogras, Umit Y. (Committee member) / Seo, Jae-Sun (Committee member) / Arizona State University (Publisher)
Created2014