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- Genre: Masters Thesis
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
Building Envelope includes walls, roofs and openings, which react to the outdoor environmental condition. Today, with the increasing use of glass in building envelope, the energy usage of the buildings is increasing, especially in the offices and commercial buildings. Use of right glass type and control triggers helps to optimize the energy use, by tradeoff between optical and thermal properties. The part of the research looks at the different control triggers and its range that governs the use of electrochromic glass to regulate the energy usage in building. All different control trigger that can be possibly used for regulating the clear and tint state of glass were analyzed with most appropriate range. Its range was triggered such that 80% time of the glass is trigger between the ranges. The other building parameters like window wall ratio and orientations were also investigated. The other half of the research study looks into the feasibility of using the Electrochromic windows, as it is ought to be the main factor governing the market usage of Electrochromic windows and to investigate the possible ways to make it feasible. Different LCC parameters were studied to make it market feasible product. This study shows that installing this technology with most appropriate trigger range can reduce annual building energy consumption from 6-8% but still cost of the technology is 3 times the ASHRAE glass, which results in 70-90 years of payback. This study concludes that south orientation saves up to 3-5% of energy and 4-6% of cooling tons while north orientation gives negligible saving using EC glass. LCC parameters show that there is relative change in increasing the net saving for different parameters but none except 50% of the present glass cost is the possible option where significant change is observed.
ContributorsMunshi, Kavish Prakash (Author) / Bryan, Harvey (Thesis advisor) / Reddy, Agami (Committee member) / Addison, Marlin (Committee member) / Arizona State University (Publisher)
Created2012
Description
The major challenge for any pavement is the freight transport carried by the structure. This challenge is expected to increase in the coming years as freight movements are projected to grow and because these movements account for most of the load related distresses for the pavement. Substantial effort has been devoted to identifying the impacts of these future national freight trends with respect to the environment, economic growth, congestion, and reliability. These are all important aspects relating to the freight question, but an equally important and often overlooked aspect of this issue involves the impact of freight trends on the physical infrastructure. This study analyzes the impact of future freight traffic trends on 26 major interstates representing 68% of the total system mileage and carrying 80% of the total national roadway freight. The pavement segments were analyzed using the Mechanistic Empirical Pavement Design Guide software after collecting the relevant traffic, climate, structural, and material properties. Comparisons were drawn between the expected pavement performance using current design standards for traffic growth and performance predictions that incorporated more detailed freight projections which themselves considered job growth and six key drivers of freight movement. The differences in the resultant performance were used to generate maps that provide a bird’s eye view of locations that are especially vulnerable to future trends in freight movement. The analysis shows that the areas of greatest vulnerability include segments that are directly linked to the busiest ports, and surprisingly those from Atlantic and Central states that provide long distance connectivity, but do not currently carry the highest traffic volumes.
ContributorsNagarajan, Sathish Kannan (Author) / Underwood, Shane (Thesis advisor) / Kaloush, Kamil (Committee member) / Mamlouk, Michael (Committee member) / Arizona State University (Publisher)
Created2016
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016