Theses and Dissertations
This collection includes both ASU Theses and Dissertations, submitted by graduate students, and the Barrett, Honors College theses submitted by undergraduate students.
Displaying 1 - 10 of 170
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (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
Photovoltaic (PV) module nameplates typically provide the module's electrical characteristics at standard test conditions (STC). The STC conditions are: irradiance of 1000 W/m2, cell temperature of 25oC and sunlight spectrum at air mass 1.5. However, modules in the field experience a wide range of environmental conditions which affect their electrical characteristics and render the nameplate data insufficient in determining a module's overall, actual field performance. To make sound technical and financial decisions, designers and investors need additional performance data to determine the energy produced by modules operating under various field conditions. The angle of incidence (AOI) of sunlight on PV modules is one of the major parameters which dictate the amount of light reaching the solar cells. The experiment was carried out at the Arizona State University- Photovoltaic Reliability Laboratory (ASU-PRL). The data obtained was processed in accordance with the IEC 61853-2 model to obtain relative optical response of the modules (response which does not include the cosine effect). The results were then compared with theoretical models for air-glass interface and also with the empirical model developed by Sandia National Laboratories. The results showed that all modules with glass as the superstrate had identical optical response and were in agreement with both the IEC 61853-2 model and other theoretical and empirical models. The performance degradation of module over years of exposure in the field is dependent upon factors such as environmental conditions, system configuration, etc. Analyzing the degradation of power and other related performance parameters over time will provide vital information regarding possible degradation rates and mechanisms of the modules. An extensive study was conducted by previous ASU-PRL students on approximately 1700 modules which have over 13 years of hot- dry climatic field condition. An analysis of the results obtained in previous ASU-PRL studies show that the major degradation in crystalline silicon modules having glass/polymer construction is encapsulant discoloration (causing short circuit current drop) and solder bond degradation (causing fill factor drop due to series resistance increase). The power degradation for crystalline silicon modules having glass/glass construction was primarily attributed to encapsulant delamination (causing open-circuit voltage drop).
ContributorsVasantha Janakeeraman, Suryanarayana (Author) / Tamizhmani, Govindasamy (Thesis advisor) / Rogers, Bradley (Committee member) / Macia, Narciso (Committee member) / Arizona State University (Publisher)
Created2013
Description
This study compares the Hummel Concertos in A Minor, Op. 85 and B Minor, Op. 89 and the Chopin Concertos in E Minor, Op. 11 and F Minor, Op. 21. On initial hearing of Hummel's rarely played concertos, one immediately detects similarities with Chopin's concerto style. Upon closer examination, one discovers a substantial number of interesting and significant parallels with Chopin's concertos, many of which are highlighted in this research project. Hummel belongs to a generation of composers who made a shift away from the Classical style, and Chopin, as an early Romantic, absorbed much from his immediate predecessors in establishing his highly unique style. I have chosen to focus on Chopin's concertos to demonstrate this association. The essay begins with a discussion of the historical background of Chopin's formative years as it pertains to the formation of his compositional style, Hummel's role and influence in the contemporary musical arena, as well as interactions between the two composers. It then provides the historical background of the aforementioned concertos leading to a comparative analysis, which includes structural, melodic, harmonic, and motivic parallels. With a better understanding of his stylistic influences, and of how Chopin assimilated them in the creation of his masterful works, the performer can adopt a more informed approach to the interpretation of these two concertos, which are among the most beloved masterpieces in piano literature.
ContributorsYam, Jessica (Author) / Hamilton, Robert (Thesis advisor) / Levy, Benjamin (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
There is a lack of music therapy services for college students who have problems with depression and/or anxiety. Even among universities and colleges that offer music therapy degrees, there are no known programs offering music therapy to the institution's students. Female college students are particularly vulnerable to depression and anxiety symptoms compared to their male counterparts. Many students who experience mental health problems do not receive treatment, because of lack of knowledge, lack of services, or refusal of treatment. Music therapy is proposed as a reliable and valid complement or even an alternative to traditional counseling and pharmacotherapy because of the appeal of music to young women and the potential for a music therapy group to help isolated students form supportive networks. The present study recruited 14 female university students to participate in a randomized controlled trial of short-term group music therapy to address symptoms of depression and anxiety. The students were randomly divided into either the treatment group or the control group. Over 4 weeks, each group completed surveys related to depression and anxiety. Results indicate that the treatment group's depression and anxiety scores gradually decreased over the span of the treatment protocol. The control group showed either maintenance or slight worsening of depression and anxiety scores. Although none of the results were statistically significant, the general trend indicates that group music therapy was beneficial for the students. A qualitative analysis was also conducted for the treatment group. Common themes were financial concerns, relationship problems, loneliness, and time management/academic stress. All participants indicated that they benefited from the sessions. The group progressed in its cohesion and the participants bonded to the extent that they formed a supportive network which lasted beyond the end of the protocol. The results of this study are by no means conclusive, but do indicate that colleges with music therapy degree programs should consider adding music therapy services for their general student bodies.
ContributorsAshton, Barbara (Author) / Crowe, Barbara J. (Thesis advisor) / Rio, Robin (Committee member) / Davis, Mary (Committee member) / Arizona State University (Publisher)
Created2013
Description
The object of this study was a 26 year old residential Photovoltaic (PV) monocrystalline silicon (c-Si) power plant, called Solar One, built by developer John F. Long in Phoenix, Arizona (a hot-dry field condition). The task for Arizona State University Photovoltaic Reliability Laboratory (ASU-PRL) graduate students was to evaluate the power plant through visual inspection, electrical performance, and infrared thermography. The purpose of this evaluation was to measure and understand the extent of degradation to the system along with the identification of the failure modes in this hot-dry climatic condition. This 4000 module bipolar system was originally installed with a 200 kW DC output of PV array (17 degree fixed tilt) and an AC output of 175 kVA. The system was shown to degrade approximately at a rate of 2.3% per year with no apparent potential induced degradation (PID) effect. The power plant is made of two arrays, the north array and the south array. Due to a limited time frame to execute this large project, this work was performed by two masters students (Jonathan Belmont and Kolapo Olakonu) and the test results are presented in two masters theses. This thesis presents the results obtained on the north array and the other thesis presents the results obtained on the south array. The resulting study showed that PV module design, array configuration, vandalism, installation methods and Arizona environmental conditions have had an effect on this system's longevity and reliability. Ultimately, encapsulation browning, higher series resistance (potentially due to solder bond fatigue) and non-cell interconnect ribbon breakages outside the modules were determined to be the primary causes for the power loss.
ContributorsBelmont, Jonathan (Author) / Tamizhmani, Govindasamy (Thesis advisor) / Henderson, Mark (Committee member) / Rogers, Bradley (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
Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir Arthur Sullivan's Yum-Yum from The Mikado (1885), Iris of Pietro Mascagni's Iris (1898) exemplify this archetype, as does Liù from Puccini's Turandot (1924). At the other extreme is the icy, cold and bloodthirsty archetype found in the title role of Puccini's Turandot and Katisha from The Mikado. Chiang Ch'ing (also known as Madame Mao) from John Adams's Nixon in China (1987), and Madame White Snake from Chinese-American composer Zhou Long's Madame White Snake (2010) feature leading characters that demonstrate elements of both of these archetypes, and this combination of the two archetypes yields more complex and richer characters. These two extremes of the female Asian stereotype and the evolution of these characteristics provide an interesting outlook on the incorporation of non-Western musical styles into these operas, and the understanding of a Western perception of foreign peoples, especially foreign females.
ContributorsLo, Wan-Yi (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / Kopta, Anne (Committee member) / Mills, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Potential induced degradation (PID) due to high system voltages is one of the major degradation mechanisms in photovoltaic (PV) modules, adversely affecting their performance due to the combined effects of the following factors: system voltage, superstrate/glass surface conductivity, encapsulant conductivity, silicon nitride anti-reflection coating property and interface property (glass/encapsulant; encapsulant/cell; encapsulant/backsheet). Previous studies carried out at ASU's Photovoltaic Reliability Laboratory (ASU-PRL) showed that only negative voltage bias (positive grounded systems) adversely affects the performance of commonly available crystalline silicon modules. In previous studies, the surface conductivity of the glass surface was obtained using either conductive carbon layer extending from the glass surface to the frame or humidity inside an environmental chamber. This thesis investigates the influence of glass surface conductivity disruption on PV modules. In this study, conductive carbon was applied only on the module's glass surface without extending to the frame and the surface conductivity was disrupted (no carbon layer) at 2cm distance from the periphery of frame inner edges. This study was carried out under dry heat at two different temperatures (60 °C and 85 °C) and three different negative bias voltages (-300V, -400V, and -600V). To replicate closeness to the field conditions, half of the selected modules were pre-stressed under damp heat for 1000 hours (DH 1000) and the remaining half under 200 hours of thermal cycling (TC 200). When the surface continuity was disrupted by maintaining a 2 cm gap from the frame to the edge of the conductive layer, as demonstrated in this study, the degradation was found to be absent or negligibly small even after 35 hours of negative bias at elevated temperatures. This preliminary study appears to indicate that the modules could become immune to PID losses if the continuity of the glass surface conductivity is disrupted at the inside boundary of the frame. The surface conductivity of the glass, due to water layer formation in a humid condition, close to the frame could be disrupted just by applying a water repelling (hydrophobic) but high transmittance surface coating (such as Teflon) or modifying the frame/glass edges with water repellent properties.
ContributorsTatapudi, Sai Ravi Vasista (Author) / Tamizhmani, Govindasamy (Thesis advisor) / Srinivasan, Devarajan (Committee member) / Rogers, Bradley (Committee member) / Arizona State University (Publisher)
Created2012