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- Creators: Barrett, The Honors College
Description
In 1808, Heinrich Domnich (1767-1844) published his book, Méthode de Premier et de Second Cor, in which he credited the invention of hand horn to Dresden hornist Anton Joseph Hampel (1710-1771). The notion that Hampel was the first horn player to experiment and teach hand horn technique has persisted to the present day. This assumption disregards evidence found in Telemann's compositions and Baroque instrument design, where hand horn technique was clearly in use before Hampel.
This paper presents evidence that before Hampel, hand horn was in use and called for by composers. Because of the number of works for horn he generated before and during Hampel's life, Telemann's pieces provide powerful insight into the use of Baroque horn. Musical examples originate from passages in Telemann's works where the horn performs in a solo capacity and the music requires the performer to produce pitches outside the harmonic series. By necessity, the performer must use either the hand or bend the note with the embouchure in order to produce the correct pitch with the hand being the logical choice. The paper also examines published interviews from horn pedagogues, history books, method books from the classical and baroque eras, baroque and hand horn design, as well as articles written by some of the world's foremost baroque and hand horn experts.
By indentifying the number of non harmonic series tones in Telemann's music, combined with the opinions of hand horn experts, this paper suggests that horn players during the Baroque era must have known about, and used, hand horn technique. This knowledge will influence performer's interpretation of baroque pieces by providing a more historically informed performance, clearer understanding of intonation, the variety of tone colors expected, and create a better understanding of the development of the horn from foxhunting to the concert hall.
This paper presents evidence that before Hampel, hand horn was in use and called for by composers. Because of the number of works for horn he generated before and during Hampel's life, Telemann's pieces provide powerful insight into the use of Baroque horn. Musical examples originate from passages in Telemann's works where the horn performs in a solo capacity and the music requires the performer to produce pitches outside the harmonic series. By necessity, the performer must use either the hand or bend the note with the embouchure in order to produce the correct pitch with the hand being the logical choice. The paper also examines published interviews from horn pedagogues, history books, method books from the classical and baroque eras, baroque and hand horn design, as well as articles written by some of the world's foremost baroque and hand horn experts.
By indentifying the number of non harmonic series tones in Telemann's music, combined with the opinions of hand horn experts, this paper suggests that horn players during the Baroque era must have known about, and used, hand horn technique. This knowledge will influence performer's interpretation of baroque pieces by providing a more historically informed performance, clearer understanding of intonation, the variety of tone colors expected, and create a better understanding of the development of the horn from foxhunting to the concert hall.
ContributorsGilbert, Joel Gregory (Author) / Ericson, John Q (Thesis advisor) / Swoboda, Deanna (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project discusses the horn, tuba, piano sub-genre of brass chamber music. Alec Wilder wrote the first piece for this instrumentation in 1963 for his friends John Barrows and Harvey Phillips. Wilder's compositional style was directly affected by life events and relationships. Through letters, biographies, recordings and autobiographies the importance of his friendship with Barrows and Phillips are displayed to show the links between the two men and the composer's compositional output. A deeper look into the life of Alec Wilder and a thematic analysis of his Suite No.1 for Horn, Tuba and Piano (1963), and Suite No.2 for Horn, Tuba and Piano (1971) shed light on the beginnings of the genre and provide a deeper understanding of the works. Since Wilder's two trios there have been at least twenty works written for this instrumentation. A brief overview of works written for the trio since 1971 provide a broad sense of the quantity and benefits of the trio in the hopes of inspiring new performances and compositions. This paper will combine the seemingly random compositions for the instrumentation into a collected repertoire. With an increase in exposure, the trio for horn, tuba and piano has the potential to become a standard brass chamber group that will benefit students, performers, and audiences alike.
ContributorsRomano, Christina Marie (Author) / Ericson, John Q (Thesis advisor) / Saucier, Catherine (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT
Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937).
Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival.
Edouard Vuillermoz (1869-1939) was a horn player and teacher who studied and later taught at the Paris Conservatory during the early twentieth century. As did many of the professors from the Conservatory, Vuillermoz published works for the horn. Unfortunately, his name has largely faded into obscurity and most of his works are no longer in print, yet one has remained in the repertoire and is still available for purchase today—Dix Pièces Mélodiques. Published in 1927 by Alphonse-Leduc, Vuillermoz desired for his students a set of etudes that would teach mastery of transposition, but he was not a composer. The ten transposition exercises he created were selected and transcribed from a compilation of vocalises commissioned by a vocal professor at the Conservatory, Amédée-Louis Hettich (1856-1937).
Hettich desired vocalise-etudes that would able aid and inspire his students, so he commissioned over one-hundred-fifty vocalises by modern composers during the first half of the twentieth century. Composers including Bozza, Copland, Dukas, Fauré, Messiaen, Nielsen, Ravel, and Tomasi answered his call for works between 1906 and 1938. These modern vocalise-etudes have since disappeared from the vocal repertoire. Now, a century later, many of these studies have entered the public domain and are resurfacing as instrumental transcriptions and concert etudes. This study promotes awareness of Edouard Vuillermoz’s Dix Pièces Mélodiques and advocates for their inclusion in a modern revival.
ContributorsBuxbaum, Juli Ann (Author) / Ericson, John Q (Thesis advisor) / Rockmaker, Jody (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2018
Description
This thesis evaluates the viability of an original design for a cost-effective wheel-mounted dynamometer for road vehicles. The goal is to show whether or not a device that generates torque and horsepower curves by processing accelerometer data collected at the edge of a wheel can yield results that are comparable to results obtained using a conventional chassis dynamometer. Torque curves were generated via the experimental method under a variety of circumstances and also obtained professionally by a precision engine testing company. Metrics were created to measure the precision of the experimental device's ability to consistently generate torque curves and also to compare the similarity of these curves to the professionally obtained torque curves. The results revealed that although the test device does not quite provide the same level of precision as the professional chassis dynamometer, it does create torque curves that closely resemble the chassis dynamometer torque curves and exhibit a consistency between trials comparable to the professional results, even on rough road surfaces. The results suggest that the test device provides enough accuracy and precision to satisfy the needs of most consumers interested in measuring their vehicle's engine performance but probably lacks the level of accuracy and precision needed to appeal to professionals.
ContributorsKing, Michael (Author) / Ren, Yi (Thesis director) / Spanias, Andreas (Committee member) / School of Mathematical and Statistical Sciences (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
This research project will test the structural properties of a 3D printed origami inspired structure and compare them with a standard honeycomb structure. The models have equal face areas, model heights, and overall volume but wall thicknesses will be different. Stress-deformation curves were developed from static loading testing. The area under these curves was used to calculate the toughness of the structures. These curves were analyzed to see which structures take more load and which deform more before fracture. Furthermore, graphs of the Stress-Strain plots were produced. Using 3-D printed parts in tough resin printed with a Stereolithography (SLA) printer, the origami inspired structure withstood a larger load, produced a larger toughness and deformed more before failure than the equivalent honeycomb structure.
ContributorsMcGregor, Alexander (Author) / Jiang, Hanqing (Thesis director) / Kingsbury, Dallas (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The following paper discusses the validation of the TolTEC optical design along with a progress report regarding the design of the optical mounting system. Solidworks and Zemax were used in conjunction to model the proposed optics designs. The final optical design was selected through extensive CAD modeling and testing within the Large Millimeter Telescope receiver room. The TolTEC optics can be divided into two arrays, one comprised of the warm mirrors and the second, cryogenically-operated cold mirrors. To ensure structural stability and optical performance, the mechanical design of these systems places a heavy emphasis on rigidity. This is done using a variety of design techniques that restrict motion along the necessary degrees of freedom and maximize moment of inertia while minimizing weight. Work will resume on this project in the Fall 2017 semester.
ContributorsKelso, Rhys Partain (Author) / Mauskopf, Philip (Thesis director) / Groppi, Christopher (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
DescriptionThe heat island effect has resulted in an observational increase in averave ambient as well as surface temperatures and current photovoltaic implementation do not migitate this effect. Thus, the feasibility and performance of alternative solutions are explored and determined using theoretical, computational data.
ContributorsCoyle, Aidan John (Author) / Trimble, Steven (Thesis director) / Underwood, Shane (Committee member) / Barrett, The Honors College (Contributor) / Mechanical and Aerospace Engineering Program (Contributor)
Created2014-05
Description
This project is a collection of four arrangements from Gustav Mahler’s Des Knaben Wunderhorn for French horn and marimba, with accompanying commentary. French horn and marimba is a beautiful combination that suffers from a lack of repertoire. These arrangements, composed by Kyle Nelson, are a step toward remedying that problem, while exploring the wide range of musical styles for which this combination is suited. The four songs that have been transcribed here are Urlicht, Wo die schönen Trompeten blasen, Der Tamboursg’sell, and Des Antonius von Padua Fischpredigt. Together, they provide a sampling of the many poems Mahler put to music in the late 1800’s for voice and piano. The sampling ranges from the very well-known (such as those featured in Mahler’s symphonies, like Urlicht) to one of the few lighthearted arrangements (Des Antonius von Padua Fischpredigt’s scherzo trio style) found in Mahler’s two original collections of lieder. The final product is performable as a duet with a talented horn and marimba duo, but in some circumstances it may be beneficial to divide the marimba part by stem direction and play as a trio on horn and two marimbas. The marimba part is best suited for four mallets on a 5-octave marimba.
ContributorsMartin, Stephanie Lorraine (Author) / Ericson, John (Thesis director) / Swoboda, Deanna (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
Description
A model has been developed to modify Euler-Bernoulli beam theory for wooden beams, using visible properties of wood knot-defects. Treating knots in a beam as a system of two ellipses that change the local bending stiffness has been shown to improve the fit of a theoretical beam displacement function to edge-line deflection data extracted from digital imagery of experimentally loaded beams. In addition, an Ellipse Logistic Model (ELM) has been proposed, using L1-regularized logistic regression, to predict the impact of a knot on the displacement of a beam. By classifying a knot as severely positive or negative, vs. mildly positive or negative, ELM can classify knots that lead to large changes to beam deflection, while not over-emphasizing knots that may not be a problem. Using ELM with a regression-fit Young's Modulus on three-point bending of Douglass Fir, it is possible estimate the effects a knot will have on the shape of the resulting displacement curve.
ContributorsSexton, Thurston Bryant (Author) / Takahashi, Timothy (Thesis director) / Jones, Donald (Committee member) / Barrett, The Honors College (Contributor) / Mechanical and Aerospace Engineering Program (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2015-05
Description
The following is a report that will evaluate the microstructure of the nickel-based superalloy Hastelloy X and its relationship to mechanical properties in different load conditions. Hastelloy X is of interest to the company AORA because its strength and oxidation resistance at high temperatures is directly applicable to their needs in a hybrid concentrated solar module. The literature review shows that the microstructure will produce different carbides at various temperatures, which can be beneficial to the strength of the alloy. These precipitates are found along the grain boundaries and act as pins that limit dislocation flow, as well as grain boundary sliding, and improve the rupture strength of the material. Over time, harmful precipitates form which counteract the strengthening effect of the carbides and reduce rupture strength, leading to failure. A combination of indentation and microstructure mapping was used in an effort to link local mechanical behavior to microstructure variability. Electron backscatter diffraction (EBSD) and energy dispersive spectroscopy (EDS) were initially used as a means to characterize the microstructure prior to testing. Then, a series of room temperature Vickers hardness tests at 50 and 500 gram-force were used to evaluate the variation in the local response as a function of indentation size. The room temperature study concluded that both the hardness and standard deviation increased at lower loads, which is consistent with the grain size distribution seen in the microstructure scan. The material was then subjected to high temperature spherical indentation. Load-displacement curves were essential in evaluating the decrease in strength of the material with increasing temperature. Through linear regression of the unloading portion of the curve, the plastic deformation was determined and compared at different temperatures as a qualitative method to evaluate local strength.
ContributorsCelaya, Andrew Jose (Author) / Peralta, Pedro (Thesis director) / Solanki, Kiran (Committee member) / Barrett, The Honors College (Contributor) / Mechanical and Aerospace Engineering Program (Contributor)
Created2015-05