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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
ContributorsMatthews, Eyona (Performer) / Yoo, Katie Jihye (Performer) / Roubison, Ryan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsHoeckley, Stephanie (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
Description
Pb-free solder joints are commonly used as interconnects in semiconductor packaging. One of the major defects affecting the mechanical performance of solder joints are reflow pores that form during processing. These pores exhibit significant variability in size and distribution, and understanding the effects of pore geometry on failure is an important reliability concern. In this thesis, the pore microstructures of solder joint samples and the localized plastic deformation around individual pores was characterized in 3D using lab scale X-ray Microtomography. To observe the deformation of a solder joint in 3D, a solder joint was imaged with Microtomography after reflow and then deformed in shear in several loading steps with additional tomography data taken between each. The 3D tomography datasets were then segmented using the 3D Livewire technique into regions corresponding to solder and pores, and used to generate 3D models of the joint at each strain value using Mimics software. The extent of deformation of individual pores in the joint as a function of strain was quantified using sphericity measurements, and correlated with the observed cracking in the joint. In addition, the error inherent in the data acquisition and 3D modeling process was also quantified. The progression of damage observed with X-ray Microtomography was then used to validate the deformation and failure predicted by a Finite Element (FE) simulation. The FE model was based on the as-reflowed tomography data, and incorporated a ductile damage failure model to simulate fracture. Using the measured sphericity change and cracking information obtained from the tomography data, the FE model is shown to correctly capture the broad plastic deformation and strain localization seen in the actual joint, as well as the crack propagation. Lastly, Digital Image Correlation was investigated as a method of obtaining improved local strain measurements in 3D. This technique measures the displacement of the inherent microstructural features of the joint, and can give localized strain measurements that can be directly comparable to that predicted by modeling. The technique is demonstrated in 2D on Pb-Sn solder, and example 3D data is presented for future analysis.
ContributorsPadilla, Erick (Author) / Chawla, Nikhilesh (Thesis advisor) / Alford, Terry (Committee member) / Krause, Stephen (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
Description
Uranium Dioxide (UO2) is a significant nuclear fission fuel, which is widely used
in nuclear reactors. Understanding the influence of microstructure on thermo-mechanical behavior of UO2 is extremely important to predict its performance. In particular, evaluating mechanical properties, such as elasticity, plasticity and creep at sub-grain length scales is key to developing this understanding as well as building multi-scale models of fuel behavior with predicting capabilities. In this work, modeling techniques were developed to study effects of microstructure on Young’s modulus, which was selected as a key representative property that affects overall mechanical behavior, using experimental data obtained from micro-cantilever bending testing as benchmarks. Beam theory was firstly introduced to calculate Young's modulus of UO2 from the experimental data and then three-dimensional finite element models of the micro-cantilever beams were constructed to simulate bending tests in UO2 at room temperature. The influence of the pore distribution was studied to explain the discrepancy between predicted values and experimental results. Results indicate that results of tests are significantly affected by porosity given that both pore size and spacing in the samples are of the order of the micro-beam dimensions. Microstructure reconstruction was conducted with images collected from three-dimensional serial sectioning using focused ion beam (FIB) and electron backscattering diffraction (EBSD) and pore clusters were placed at different locations along the length of the beam. Results indicate that the presence of pore clusters close to the substrate, i.e., the clamp of the micro-cantilever beam, has the strongest effect on load-deflection behavior, leading to a reduction of stiffness that is the largest for any location of the pore cluster. Furthermore, it was also found from both numerical and i
analytical models that pore clusters located towards the middle of the span and close to the end of the beam only have a very small effect on the load-deflection behavior, and it is concluded that better estimates of Young's modulus can be obtained from micro- cantilever experiments by using microstructurally explicit models that account for porosity in about one half of the beam length close to the clamp. This, in turn, provides an avenue to simplify micro-scale experiments and their analysis.
in nuclear reactors. Understanding the influence of microstructure on thermo-mechanical behavior of UO2 is extremely important to predict its performance. In particular, evaluating mechanical properties, such as elasticity, plasticity and creep at sub-grain length scales is key to developing this understanding as well as building multi-scale models of fuel behavior with predicting capabilities. In this work, modeling techniques were developed to study effects of microstructure on Young’s modulus, which was selected as a key representative property that affects overall mechanical behavior, using experimental data obtained from micro-cantilever bending testing as benchmarks. Beam theory was firstly introduced to calculate Young's modulus of UO2 from the experimental data and then three-dimensional finite element models of the micro-cantilever beams were constructed to simulate bending tests in UO2 at room temperature. The influence of the pore distribution was studied to explain the discrepancy between predicted values and experimental results. Results indicate that results of tests are significantly affected by porosity given that both pore size and spacing in the samples are of the order of the micro-beam dimensions. Microstructure reconstruction was conducted with images collected from three-dimensional serial sectioning using focused ion beam (FIB) and electron backscattering diffraction (EBSD) and pore clusters were placed at different locations along the length of the beam. Results indicate that the presence of pore clusters close to the substrate, i.e., the clamp of the micro-cantilever beam, has the strongest effect on load-deflection behavior, leading to a reduction of stiffness that is the largest for any location of the pore cluster. Furthermore, it was also found from both numerical and i
analytical models that pore clusters located towards the middle of the span and close to the end of the beam only have a very small effect on the load-deflection behavior, and it is concluded that better estimates of Young's modulus can be obtained from micro- cantilever experiments by using microstructurally explicit models that account for porosity in about one half of the beam length close to the clamp. This, in turn, provides an avenue to simplify micro-scale experiments and their analysis.
ContributorsGong, Bowen (Author) / Peralta, Pedro (Thesis advisor) / Rajagopalan, Jagannathan (Committee member) / Solanki, Kiran (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsHur, Jiyoun (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-01
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There has been a recent push for queer fiction, especially in the young adult genre, whose focus is gay and lesbian relationships. This growth is much needed in terms of visibility and the furthering of acceptance, but there are still subjects within the LGBTQ+ community that need to be addressed, including bisexual, asexual, and non-binary erasure. There are many people who claim that these identities do not exist, are labels used as a stepping stone on one's journey to discovering that they are homosexual, or are invented excuses for overtly promiscuous or prudish behavior. The existence of negative stereotypes, particularly those of non-binary individuals, is largely due to a lack of visibility and respectful representation within media and popular culture. However, there is still a dearth of non-binary content in popular literature outside of young adult fiction. Can You See Me? aims to fill the gap in bisexual, asexual, and non-binary representation in adult literature. Each of the four stories that make up this collection deals with an aspect of gender and/or sexuality that has been erased, ignored, or denied visibility in American popular culture. The first story, "We'll Grow Lemon Trees," examines bisexual erasure through the lens of sociolinguistics. A bisexual Romanian woman emigrates to Los Angeles in 1989 and must navigate a new culture, learn new languages, and try to move on from her past life under a dictatorship where speaking up could mean imprisonment or death. The second story "Up, Down, All Around," is about a young genderqueer child and their parents dealing with microaggressions, examining gender norms, and exploring personal identity through imaginary scenarios, each involving an encounter with an unknown entity and a colander. The third story, "Aces High," follows two asexual characters from the day they're born to when they are 28 years old, as they find themselves in pop culture. The two endure identity crises, gender discrimination, erasure, individual obsessions, and prejudice as they learn to accept themselves and embrace who they are. In the fourth and final story, "Mile Marker 72," a gay Mexican man must hide in plain sight as he deals with the death of his partner and coming out to his best friend, whose brother is his partner's murderer.
ContributorsOchser, Jordyn M. (Author) / Bell, Matt (Thesis director) / Free, Melissa (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05