Matching Items (1,682)
Filtering by
- All Subjects: Electrical Engineering
- All Subjects: Music
- Creators: Arizona State University
Description
The development of a Solid State Transformer (SST) that incorporates a DC-DC multiport converter to integrate both photovoltaic (PV) power generation and battery energy storage is presented in this dissertation. The DC-DC stage is based on a quad-active-bridge (QAB) converter which not only provides isolation for the load, but also for the PV and storage. The AC-DC stage is implemented with a pulse-width-modulated (PWM) single phase rectifier. A unified gyrator-based average model is developed for a general multi-active-bridge (MAB) converter controlled through phase-shift modulation (PSM). Expressions to determine the power rating of the MAB ports are also derived. The developed gyrator-based average model is applied to the QAB converter for faster simulations of the proposed SST during the control design process as well for deriving the state-space representation of the plant. Both linear quadratic regulator (LQR) and single-input-single-output (SISO) types of controllers are designed for the DC-DC stage. A novel technique that complements the SISO controller by taking into account the cross-coupling characteristics of the QAB converter is also presented herein. Cascaded SISO controllers are designed for the AC-DC stage. The QAB demanded power is calculated at the QAB controls and then fed into the rectifier controls in order to minimize the effect of the interaction between the two SST stages. The dynamic performance of the designed control loops based on the proposed control strategies are verified through extensive simulation of the SST average and switching models. The experimental results presented herein show that the transient responses for each control strategy match those from the simulations results thus validating them.
ContributorsFalcones, Sixifo Daniel (Author) / Ayyanar, Raja (Thesis advisor) / Karady, George G. (Committee member) / Tylavsky, Daniel (Committee member) / Tsakalis, Konstantinos (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.
ContributorsSavic, Nenad (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / McLin, Katherine (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to commission, perform, and discuss a new work for an instrument pairing not often utilized, oboe and percussion. The composer, Alyssa Morris, was selected in June 2009. Her work, titled Forecast, was completed in October of 2009 and premiered in February of 2010, as part of a program showcasing music for oboe and percussion. Included in this document is a detailed biography of the composer, a description of the four movements of Forecast, performance notes for each movement, a diagram for stage set-up, the full score, the program from the premiere performance with biographies of all the performers involved, and both a live recording and MIDI sound file. The performance notes discuss issues that arose during preparation for the premiere and should help avoid potential pitfalls. TrevCo Music, publisher of the work, graciously allowed inclusion of the full score. This score is solely for use in this document; please visit the publisher's website for purchasing information. The commission and documentation of this composition are intended to add to the repertoire for oboe in an unusual instrument pairing and to encourage further exploration of such combinations.
ContributorsCreamer, Caryn (Author) / Schuring, Martin (Thesis advisor) / Hill, Gary (Committee member) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
This composition was commissioned by the Orgelpark to be performed in Amsterdam in September 2011 during Gaudeamus Muziekweek. It will be performed by the vocal group VocaalLab Nederland. It is scored for four vocalists, organ, tanpura, and electronic sound. The work is a culmination of my studies in South Indian Carnatic rhythm, North Indian classical singing, and American minimalism. It is a meditation on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration. Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships. Cycles are created on the microscale through the subdivision and addition of rhythmic pulses.
ContributorsAdler, Jacob (Composer) / Rockmaker, Jody (Thesis advisor) / Feisst, Sabine (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Arizona State University (Publisher)
Created2011
Description
Although one finds much scholarship on nineteenth-century music in America, one finds relatively little about music in the post-Civil-War frontier west. Generalities concerning small frontier towns of regional importance remain to be discovered. This paper aims to contribute to scholarship by chronicling musical life in the early years of two such towns in northern Arizona territory: Prescott and Flagstaff. Prescott, adjacent to Fort Whipple, was founded in 1864 to serve as capital of the new territory. Primarily home to soldiers and miners, the town was subject to many challenges of frontier life. Flagstaff, ninety miles to the north-northwest, was founded about two decades later in 1883 during the building of the Atlantic & Pacific Railroad, which connected the town to Albuquerque, New Mexico in the east and southern California in the west. Although the particular resources of each town provided many different musical opportunities, extant newspaper articles from Prescott's Arizona Miner and Flagstaff's Arizona Champion describe communities in which musical concerts, dances and theatrical performances provided entertainment and socializing for its citizens. Furthermore, music was an important part of developing institutions such as the church, schools, and fraternal lodges, and the newspapers of both towns advertised musical instruments and sheet music. Both towns were home to amateur musicians, and both offered the occasional opportunity to learn to dance or play an instrument. Although territorial Arizona was sometimes harsh and resources were limited, music was valued in these communities and was a consistent presence in frontier life.
ContributorsJohnson, Amber V (Author) / Oldani, Robert W. (Thesis advisor) / Holbrook, Amy (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2011
Description
The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
Description
The demand for handheld portable computing in education, business and research has resulted in advanced mobile devices with powerful processors and large multi-touch screens. Such devices are capable of handling tasks of moderate computational complexity such as word processing, complex Internet transactions, and even human motion analysis. Apple's iOS devices, including the iPhone, iPod touch and the latest in the family - the iPad, are among the well-known and widely used mobile devices today. Their advanced multi-touch interface and improved processing power can be exploited for engineering and STEM demonstrations. Moreover, these devices have become a part of everyday student life. Hence, the design of exciting mobile applications and software represents a great opportunity to build student interest and enthusiasm in science and engineering. This thesis presents the design and implementation of a portable interactive signal processing simulation software on the iOS platform. The iOS-based object-oriented application is called i-JDSP and is based on the award winning Java-DSP concept. It is implemented in Objective-C and C as a native Cocoa Touch application that can be run on any iOS device. i-JDSP offers basic signal processing simulation functions such as Fast Fourier Transform, filtering, spectral analysis on a compact and convenient graphical user interface and provides a very compelling multi-touch programming experience. Built-in modules also demonstrate concepts such as the Pole-Zero Placement. i-JDSP also incorporates sound capture and playback options that can be used in near real-time analysis of speech and audio signals. All simulations can be visually established by forming interactive block diagrams through multi-touch and drag-and-drop. Computations are performed on the mobile device when necessary, making the block diagram execution fast. Furthermore, the extensive support for user interactivity provides scope for improved learning. The results of i-JDSP assessment among senior undergraduate and first year graduate students revealed that the software created a significant positive impact and increased the students' interest and motivation and in understanding basic DSP concepts.
ContributorsLiu, Jinru (Author) / Spanias, Andreas (Thesis advisor) / Tsakalis, Kostas (Committee member) / Qian, Gang (Committee member) / Arizona State University (Publisher)
Created2011
Description
Due to the growing concerns on the depletion of petroleum based energy resources and climate change; fuel cell technologies have received much attention in recent years. Proton exchange membrane fuel cell (PEMFCs) features high energy conversion efficiency and nearly zero greenhouse gas emissions, because of its combination of the hydrogen oxidation reaction (HOR) at anode side and oxygen reduction reaction (ORR) at cathode side. Synthesis of Pt nanoparticles supported on multi walled carbon nanotubes (MWCNTs) possess a highly durable electrochemical surface area (ESA) and show good power output on proton exchange membrane (PEM) fuel cell performance. Platinum on multi-walled carbon nanotubes (MWCNTs) support were synthesized by two different processes to transfer PtCl62- from aqueous to organic phase. While the first method of Pt/MWCNTs synthesis involved dodecane thiol (DDT) and octadecane thiol (ODT) as anchoring agent, the second method used ammonium lauryl sulfate (ALS) as the dispersion/anchoring agent. The particle size and distribution of platinum were examined by high-resolution transmission electron microscope (HRTEM). The TEM images showed homogenous distribution and uniform particle size of platinum deposited on the surface of MWCNTs. The single cell fuel cell performance of the Pt/MWCNTs synthesized thiols and ALS based electrode containing 0.2 (anode) and 0.4 mg (cathode) Pt.cm-2 were evaluated using Nafion-212 electrolyte with H2 and O2 gases at 80 oC and ambient pressure. The catalyst synthesis with ALS is relatively simple compared to that with thiols and also showed higher performance (power density reaches about 1070 mW.cm-2). The Electrodes with Pt/MWCNTs nanocatalysts synthesized using ALS were characterized by cyclic voltammetry (CV) for durability evaluation using humidified H2 and N2 gases at room temperature (21 oC) along with commercial Pt/C for comparison. The ESA measured by cyclic voltammetry between 0.15 and 1.2 V showed significant less degradation after 1000 cycles for ALS based Pt/MWCNTs.
ContributorsLiu, Xuan (Author) / Madakannan, Arunachalanadar (Thesis advisor) / Munukutla, Lakshmi (Committee member) / Tamizhmani, Govindasamy (Committee member) / Arizona State University (Publisher)
Created2011
Description
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (Committee member) / Arizona State University (Publisher)
Created2011
Description
Residue number systems have gained significant importance in the field of high-speed digital signal processing due to their carry-free nature and speed-up provided by parallelism. The critical aspect in the application of RNS is the selection of the moduli set and the design of the conversion units. There have been several RNS moduli sets proposed for the implementation of digital filters. However, some are unbalanced and some do not provide the required dynamic range. This thesis addresses the drawbacks of existing RNS moduli sets and proposes a new moduli set for efficient implementation of FIR filters. An efficient VLSI implementation model has been derived for the design of a reverse converter from RNS to the conventional two's complement representation. This model facilitates the realization of a reverse converter for better performance with less hardware complexity when compared with the reverse converter designs of the existing balanced 4-moduli sets. Experimental results comparing multiply and accumulate units using RNS that are implemented using the proposed four-moduli set with the state-of-the-art balanced four-moduli sets, show large improvements in area (46%) and power (43%) reduction for various dynamic ranges. RNS FIR filters using the proposed moduli-set and existing balanced 4-moduli set are implemented in RTL and compared for chip area and power and observed 20% improvements. This thesis also presents threshold logic implementation of the reverse converter.
ContributorsChalivendra, Gayathri (Author) / Vrudhula, Sarma (Thesis advisor) / Shrivastava, Aviral (Committee member) / Bakkaloglu, Bertan (Committee member) / Arizona State University (Publisher)
Created2011