Matching Items (12)
Filtering by
- All Subjects: Composition (Music)
- All Subjects: Biomedical Engineering
- Genre: Doctoral Dissertation
Description
A dual-channel directional digital hearing aid (DHA) front-end using a fully differential difference amplifier (FDDA) based Microphone interface circuit (MIC) for a capacitive Micro Electro Mechanical Systems (MEMS) microphones and an adaptive-power analog font end (AFE) is presented. The Microphone interface circuit based on FDDA converts the capacitance variations into voltage signal, achieves a noise of 32 dB SPL (sound pressure level) and an SNR of 72 dB, additionally it also performs single to differential conversion allowing for fully differential analog signal chain. The analog front-end consists of 40dB VGA and a power scalable continuous time sigma delta ADC, with 68dB SNR dissipating 67u¬W from a 1.2V supply. The ADC implements a self calibrating feedback DAC, for calibrating the 2nd order non-linearity. The VGA and power scalable ADC is fabricated on 0.25 um CMOS TSMC process. The dual channels of the DHA are precisely matched and achieve about 0.5dB gain mismatch, resulting in greater than 5dB directivity index. This will enable a highly integrated and low power DHA
ContributorsNaqvi, Syed Roomi (Author) / Kiaei, Sayfe (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Chae, Junseok (Committee member) / Barnby, Hugh (Committee member) / Aberle, James T., 1961- (Committee member) / Arizona State University (Publisher)
Created2011
Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
Description
Image resolution limits the extent to which zooming enhances clarity, restricts the size digital photographs can be printed at, and, in the context of medical images, can prevent a diagnosis. Interpolation is the supplementing of known data with estimated values based on a function or model involving some or all of the known samples. The selection of the contributing data points and the specifics of how they are used to define the interpolated values influences how effectively the interpolation algorithm is able to estimate the underlying, continuous signal. The main contributions of this dissertation are three fold: 1) Reframing edge-directed interpolation of a single image as an intensity-based registration problem. 2) Providing an analytical framework for intensity-based registration using control grid constraints. 3) Quantitative assessment of the new, single-image enlargement algorithm based on analytical intensity-based registration. In addition to single image resizing, the new methods and analytical approaches were extended to address a wide range of applications including volumetric (multi-slice) image interpolation, video deinterlacing, motion detection, and atmospheric distortion correction. Overall, the new approaches generate results that more accurately reflect the underlying signals than less computationally demanding approaches and with lower processing requirements and fewer restrictions than methods with comparable accuracy.
ContributorsZwart, Christine M. (Author) / Frakes, David H (Thesis advisor) / Karam, Lina (Committee member) / Kodibagkar, Vikram (Committee member) / Spanias, Andreas (Committee member) / Towe, Bruce (Committee member) / Arizona State University (Publisher)
Created2013
Description
Interictal spikes, together with seizures, have been recognized as the two hallmarks of epilepsy, a brain disorder that 1% of the world's population suffers from. Even though the presence of spikes in brain's electromagnetic activity has diagnostic value, their dynamics are still elusive. It was an objective of this dissertation to formulate a mathematical framework within which the dynamics of interictal spikes could be thoroughly investigated. A new epileptic spike detection algorithm was developed by employing data adaptive morphological filters. The performance of the spike detection algorithm was favorably compared with others in the literature. A novel spike spatial synchronization measure was developed and tested on coupled spiking neuron models. Application of this measure to individual epileptic spikes in EEG from patients with temporal lobe epilepsy revealed long-term trends of increase in synchronization between pairs of brain sites before seizures and desynchronization after seizures, in the same patient as well as across patients, thus supporting the hypothesis that seizures may occur to break (reset) the abnormal spike synchronization in the brain network. Furthermore, based on these results, a separate spatial analysis of spike rates was conducted that shed light onto conflicting results in the literature about variability of spike rate before and after seizure. The ability to automatically classify seizures into clinical and subclinical was a result of the above findings. A novel method for epileptogenic focus localization from interictal periods based on spike occurrences was also devised, combining concepts from graph theory, like eigenvector centrality, and the developed spike synchronization measure, and tested very favorably against the utilized gold rule in clinical practice for focus localization from seizures onset. Finally, in another application of resetting of brain dynamics at seizures, it was shown that it is possible to differentiate with a high accuracy between patients with epileptic seizures (ES) and patients with psychogenic nonepileptic seizures (PNES). The above studies of spike dynamics have elucidated many unknown aspects of ictogenesis and it is expected to significantly contribute to further understanding of the basic mechanisms that lead to seizures, the diagnosis and treatment of epilepsy.
ContributorsKrishnan, Balu (Author) / Iasemidis, Leonidas (Thesis advisor) / Tsakalis, Kostantinos (Committee member) / Spanias, Andreas (Committee member) / Si, Jennie (Committee member) / Arizona State University (Publisher)
Created2012
Description
Light Emerging is a symphonic dance suite in five movements. The work’s approximate length is 25 minutes; it is scored for flute, oboe, clarinet in Bb, bassoon, horn in F, trumpet in C with loop pedal, trombone, percussion, electronic percussion, piano, strings, and fixed media. Each movement of the dance suite is written to be performed as a standalone piece or together as one multimovement work. The music showcases open quintal sonorities layered in conflicting substructures, which contract into denser brooding passages and transform into tonal fanfares.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
ContributorsJohnson, Brice (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
As with many concertante, Fantasy focuses on the interplay between the soloist and the orchestra. Contrast is a fundamental principle for creating the formal design of the composition. Adjacent sections are related to one another by the contrast of any or all of the following: register, timbre, and texture. Fantasy derives inspiration from the musical languages of Stravinsky, Prokofiev, Shostakovich, Moravec, and Debussy.
ContributorsKemp, Tyler (Author) / Rockmaker, Jody (Thesis advisor) / DeMars, James (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
Reverend Stormfield Goes to Heaven is an operetta in six scenes for seven vocalists and
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past.
The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
ContributorsSakamoto, Dale Toshio (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2019
Description
Lux Aeterna is scored for Flute (Piccolo), Bb Clarinet (Bass Clarinet), Oboe, Bassoon (Contra-Bassoon), French Horn, Trumpet in C, Tenor Trombone, Soprano Voice, Alto Voice, Tenor Voice, Bass Voice, 2 Violins, Viola, Cello and Double Bass. The piece lasts 17-18 minutes. The text, in its original Latin, is from the Requiem Mass. The pitch material for the four voices is directly derived from the original Gregorian Chant (B, C#, D, E, F#, G, A). The primary pitch materials for the instrumental ensemble are drawn from the overtone series, with the fundamental of B natural. As found in the natural overtone series, the chords produced in this composition include microtones found both naturally from the series along with microtones added by the composer to create harmonic friction. This treatment of microtonal materials is juxtaposed with the “pure” nature of the B minor modal scale sung by the 4 vocalists.
Lux Aeterna uses the performance space so that the sixteen performers and conductor surround the audience in an oval shape. Entrances of instruments are determined by their position around the audience and the way in which those sounds interact with one another across the space of the hall. The instruments are strategically placed so that timbres can be balanced in a specific way and the listener can hear the pitches blend in the acoustics of the hall. The goal is to create an immersive listening experience for the audience. Although there are some spectral techniques involved in this composition, no computers or software programs were used to analyze harmonic materials. The pitch material is either from the overtone series or the B minor scale. Essentially, the music is instinctually composed.
Lux Aeterna uses the performance space so that the sixteen performers and conductor surround the audience in an oval shape. Entrances of instruments are determined by their position around the audience and the way in which those sounds interact with one another across the space of the hall. The instruments are strategically placed so that timbres can be balanced in a specific way and the listener can hear the pitches blend in the acoustics of the hall. The goal is to create an immersive listening experience for the audience. Although there are some spectral techniques involved in this composition, no computers or software programs were used to analyze harmonic materials. The pitch material is either from the overtone series or the B minor scale. Essentially, the music is instinctually composed.
ContributorsMitchell, Christopher Paul (Author) / Rockmaker, Jody (Thesis advisor, Committee member) / Suzuki, Kotoka (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2019
Description
From time immemorial, epilepsy has persisted to be one of the greatest impediments to human life for those stricken by it. As the fourth most common neurological disorder, epilepsy causes paroxysmal electrical discharges in the brain that manifest as seizures. Seizures have the effect of debilitating patients on a physical and psychological level. Although not lethal by themselves, they can bring about total disruption in consciousness which can, in hazardous conditions, lead to fatality. Roughly 1\% of the world population suffer from epilepsy and another 30 to 50 new cases per 100,000 increase the number of affected annually. Controlling seizures in epileptic patients has therefore become a great medical and, in recent years, engineering challenge.
In this study, the conditions of human seizures are recreated in an animal model of temporal lobe epilepsy. The rodents used in this study are chemically induced to become chronically epileptic. Their Electroencephalogram (EEG) data is then recorded and analyzed to detect and predict seizures; with the ultimate goal being the control and complete suppression of seizures.
Two methods, the maximum Lyapunov exponent and the Generalized Partial Directed Coherence (GPDC), are applied on EEG data to extract meaningful information. Their effectiveness have been reported in the literature for the purpose of prediction of seizures and seizure focus localization. This study integrates these measures, through some modifications, to robustly detect seizures and separately find precursors to them and in consequence provide stimulation to the epileptic brain of rats in order to suppress seizures. Additionally open-loop stimulation with biphasic currents of various pairs of sites in differing lengths of time have helped us create control efficacy maps. While GPDC tells us about the possible location of the focus, control efficacy maps tells us how effective stimulating a certain pair of sites will be.
The results from computations performed on the data are presented and the feasibility of the control problem is discussed. The results show a new reliable means of seizure detection even in the presence of artifacts in the data. The seizure precursors provide a means of prediction, in the order of tens of minutes, prior to seizures. Closed loop stimulation experiments based on these precursors and control efficacy maps on the epileptic animals show a maximum reduction of seizure frequency by 24.26\% in one animal and reduction of length of seizures by 51.77\% in another. Thus, through this study it was shown that the implementation of the methods can ameliorate seizures in an epileptic patient. It is expected that the new knowledge and experimental techniques will provide a guide for future research in an effort to ultimately eliminate seizures in epileptic patients.
In this study, the conditions of human seizures are recreated in an animal model of temporal lobe epilepsy. The rodents used in this study are chemically induced to become chronically epileptic. Their Electroencephalogram (EEG) data is then recorded and analyzed to detect and predict seizures; with the ultimate goal being the control and complete suppression of seizures.
Two methods, the maximum Lyapunov exponent and the Generalized Partial Directed Coherence (GPDC), are applied on EEG data to extract meaningful information. Their effectiveness have been reported in the literature for the purpose of prediction of seizures and seizure focus localization. This study integrates these measures, through some modifications, to robustly detect seizures and separately find precursors to them and in consequence provide stimulation to the epileptic brain of rats in order to suppress seizures. Additionally open-loop stimulation with biphasic currents of various pairs of sites in differing lengths of time have helped us create control efficacy maps. While GPDC tells us about the possible location of the focus, control efficacy maps tells us how effective stimulating a certain pair of sites will be.
The results from computations performed on the data are presented and the feasibility of the control problem is discussed. The results show a new reliable means of seizure detection even in the presence of artifacts in the data. The seizure precursors provide a means of prediction, in the order of tens of minutes, prior to seizures. Closed loop stimulation experiments based on these precursors and control efficacy maps on the epileptic animals show a maximum reduction of seizure frequency by 24.26\% in one animal and reduction of length of seizures by 51.77\% in another. Thus, through this study it was shown that the implementation of the methods can ameliorate seizures in an epileptic patient. It is expected that the new knowledge and experimental techniques will provide a guide for future research in an effort to ultimately eliminate seizures in epileptic patients.
ContributorsShafique, Md Ashfaque Bin (Author) / Tsakalis, Konstantinos (Thesis advisor) / Rodriguez, Armando (Committee member) / Muthuswamy, Jitendran (Committee member) / Spanias, Andreas (Committee member) / Arizona State University (Publisher)
Created2016
Description
This document offers composers a contextual reference and pragmatic overview
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
ContributorsMillea, Joseph Henry (Author) / Smith, Jeffrey B. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2015