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2D fetal echocardiography (ECHO) can be used for monitoring heart development in utero. This study’s purpose is to empirically model normal fetal heart growth and function changes during development by ECHO and compare these to fetuses diagnosed with and without cardiomyopathy with diabetic mothers. There are existing mathematical models describing fetal heart development but they warrant revalidation and adjustment. 377 normal fetuses with healthy mothers, 98 normal fetuses with diabetic mothers, and 37 fetuses with cardiomyopathy and diabetic mothers had their cardiac structural dimensions, cardiothoracic ratio, valve flow velocities, and heart rates measured by fetal ECHO in a retrospective chart review. Cardiac features were fitted to linear functions, with respect to gestational age, femur length, head circumference, and biparietal diameter and z-scores were created to model normal fetal growth for all parameters. These z-scores were used to assess what metrics had no difference in means between the normal fetuses of both healthy and diabetic mothers, but differed from those diagnosed with cardiomyopathy. It was found that functional metrics like mitral and tricuspid E wave and pulmonary velocity could be important predictors for cardiomyopathy when fitted by gestational age, femur length, head circumference, and biparietal diameter. Additionally, aortic and tricuspid annulus diameters when fitted to estimated gestational age showed potential to be predictors for fetal cardiomyopathy. While the metrics overlapped over their full range, combining them together may have the potential for predicting cardiomyopathy in utero. Future directions of this study will explore creating a classifier model that can predict cardiomyopathy using the metrics assessed in this study.
The FS in music was used in a variety of ways throughout the 20th century, primarily focusing on durations and overall structure in its use. Examples of this are found in Béla Bartók’s Music for Strings, Percussion, and Celeste (1936), Allegro barbaro (1911), Karlheinz Stockhausen’s Klavierstück IX (1955), and Luigi Nono’s il canto sospeso (1955). These works are analyzed in detail within my research, and I found every example to have a natural feel to them even if its use of the FS is carefully planned out by the composer. Bartók’s works are the least precise of my examples but perhaps the most natural ones. This imprecision in composition may be considered a more natural use of the FS in music, since nature is not always perfect either. However, in works such as Stockhausen’s, the structure is meticulously formatted in such that the precision is masked by a cycle as to appear more natural.
The conclusion of my research was a commissioned work for my instrument, the viola. I provided my research to composer Jacob Miller Smith, a DMA Music Composition student at ASU, and together we built the framework for the piece he wrote for me. We utilized the life cycle of the Black-Eyed Susan, a flower that uses the FS in its number of petals. The life cycle of a flower is in seven parts, so the piece was written to have seven separate sections in a palindrome within an overall ABA’ format. To utilize the FS, Smith used Fibonacci number durations for rests between notes, note/gesture groupings, and a mapping of 12358 as the set (01247). I worked with Smith during the process to make sure that the piece was technically suitable for my capabilities and the instrument, and I premiered the work in my defense.
The Fibonacci Series and Golden Mean in music provides a natural feel to the music it is present in, even if it is carefully planned out by the composer. More work is still to be done to develop the FS’s use in music, but the examples presented in this project lay down a framework for it to take a natural place in music composition.