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: Phelan, Patrick
- Creators: Holbrook, Amy
Description
Wind measurements are fundamental inputs for the evaluation of potential energy yield and performance of wind farms. Three-dimensional scanning coherent Doppler lidar (CDL) may provide a new basis for wind farm site selection, design, and control. In this research, CDL measurements obtained from multiple wind energy developments are analyzed and a novel wind farm control approach has been modeled. The possibility of using lidar measurements to more fully characterize the wind field is discussed, specifically, terrain effects, spatial variation of winds, power density, and the effect of shear at different layers within the rotor swept area. Various vector retrieval methods have been applied to the lidar data, and results are presented on an elevated terrain-following surface at hub height. The vector retrieval estimates are compared with tower measurements, after interpolation to the appropriate level. CDL data is used to estimate the spatial power density at hub height. Since CDL can measure winds at different vertical levels, an approach for estimating wind power density over the wind turbine rotor-swept area is explored. Sample optimized layouts of wind farm using lidar data and global optimization algorithms, accounting for wake interaction effects, have been explored. An approach to evaluate spatial wind speed and direction estimates from a standard nested Coupled Ocean and Atmosphere Mesoscale Prediction System (COAMPS) model and CDL is presented. The magnitude of spatial difference between observations and simulation for wind energy assessment is researched. Diurnal effects and ramp events as estimated by CDL and COAMPS were inter-compared. Novel wind farm control based on incoming winds and direction input from CDL's is developed. Both yaw and pitch control using scanning CDL for efficient wind farm control is analyzed. The wind farm control optimizes power production and reduces loads on wind turbines for various lidar wind speed and direction inputs, accounting for wind farm wake losses and wind speed evolution. Several wind farm control configurations were developed, for enhanced integrability into the electrical grid. Finally, the value proposition of CDL for a wind farm development, based on uncertainty reduction and return of investment is analyzed.
ContributorsKrishnamurthy, Raghavendra (Author) / Calhoun, Ronald J (Thesis advisor) / Chen, Kangping (Committee member) / Huang, Huei-Ping (Committee member) / Fraser, Matthew (Committee member) / Phelan, Patrick (Committee member) / Arizona State University (Publisher)
Created2013
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
Tesla turbo-machinery offers a robust, easily manufactured, extremely versatile prime mover with inherent capabilities making it perhaps the best, if not the only, solution for certain niche applications. The goal of this thesis is not to optimize the performance of the Tesla turbine, but to compare its performance with various working fluids. Theoretical and experimental analyses of a turbine-generator assembly utilizing compressed air, saturated steam and water as the working fluids were performed and are presented in this work. A brief background and explanation of the technology is provided along with potential applications. A theoretical thermodynamic analysis is outlined, resulting in turbine and rotor efficiencies, power outputs and Reynolds numbers calculated for the turbine for various combinations of working fluids and inlet nozzles. The results indicate the turbine is capable of achieving a turbine efficiency of 31.17 ± 3.61% and an estimated rotor efficiency 95 ± 9.32%. These efficiencies are promising considering the numerous losses still present in the current design. Calculation of the Reynolds number provided some capability to determine the flow behavior and how that behavior impacts the performance and efficiency of the Tesla turbine. It was determined that turbulence in the flow is essential to achieving high power outputs and high efficiency. Although the efficiency, after peaking, begins to slightly taper off as the flow becomes increasingly turbulent, the power output maintains a steady linear increase.
ContributorsPeshlakai, Aaron (Author) / Phelan, Patrick (Thesis advisor) / Trimble, Steve (Committee member) / Wang, Liping (Committee member) / Arizona State University (Publisher)
Created2012
Description
This thesis outlines the development of a vector retrieval technique, based on data assimilation, for a coherent Doppler LIDAR (Light Detection and Ranging). A detailed analysis of the Optimal Interpolation (OI) technique for vector retrieval is presented. Through several modifications to the OI technique, it is shown that the modified technique results in significant improvement in velocity retrieval accuracy. These modifications include changes to innovation covariance portioning, covariance binning, and analysis increment calculation. It is observed that the modified technique is able to make retrievals with better accuracy, preserves local information better, and compares well with tower measurements. In order to study the error of representativeness and vector retrieval error, a lidar simulator was constructed. Using the lidar simulator a thorough sensitivity analysis of the lidar measurement process and vector retrieval is carried out. The error of representativeness as a function of scales of motion and sensitivity of vector retrieval to look angle is quantified. Using the modified OI technique, study of nocturnal flow in Owens' Valley, CA was carried out to identify and understand uncharacteristic events on the night of March 27th 2006. Observations from 1030 UTC to 1230 UTC (0230 hr local time to 0430 hr local time) on March 27 2006 are presented. Lidar observations show complex and uncharacteristic flows such as sudden bursts of westerly cross-valley wind mixing with the dominant up-valley wind. Model results from Coupled Ocean/Atmosphere Mesoscale Prediction System (COAMPS®) and other in-situ instrumentations are used to corroborate and complement these observations. The modified OI technique is used to identify uncharacteristic and extreme flow events at a wind development site. Estimates of turbulence and shear from this technique are compared to tower measurements. A formulation for equivalent wind speed in the presence of variations in wind speed and direction, combined with shear is developed and used to determine wind energy content in presence of turbulence.
ContributorsChoukulkar, Aditya (Author) / Calhoun, Ronald (Thesis advisor) / Mahalov, Alex (Committee member) / Kostelich, Eric (Committee member) / Huang, Huei-Ping (Committee member) / Phelan, Patrick (Committee member) / Arizona State University (Publisher)
Created2013
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
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
Description
The normal playing range of a brass instrument includes a definitive stopping note in the instrument's low register. However, players have the ability to manipulate their lips to extend the low range beyond this point; notes sounding below an instrument's normal playing range are called pedal tones. The history of pedal tones in trumpet performance and pedagogy has long been a source of confusion and misinformation. Consequently, this paper also discusses the educational value of using pedal tones, includes a brief history of players and teachers who have formulated pedal tone exercise methods, and examines their use within the six most influential method books that promote the use of pedal tones. The six books are Original Louis Maggio System for Brass by Carlton MacBeth, Double High C in 37 Weeks by Roger Spaulding, Systematic Approach to Daily Practice by Claude Gordon, Trumpet Yoga by Jerome Callet, James Stamp Warm-Ups +Studies by Thomas Stevens, and The Balanced Embouchure by Jeff Smiley.
ContributorsRodriguez, Malachy Sean (Author) / Hickman, David (Thesis advisor) / Holbrook, Amy (Committee member) / Bailey, Wayne (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014