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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
Description
This project uses fourteen transcriptions of Pete Fountain’s solos as examples to
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
demonstrate traditional jazz clarinet techniques and language in terms of motives,
patterns, and a variety of articulations. This project also includes guidelines on how to
practice jazz improvisation as well as how to apply Fountain’s techniques and jazz
language to one’s own improvisation. Though there are countless musicians who have
made remarkable contributions to the development of the jazz language, Pete Fountain’s
unique style is particularly worthy of study due to his massive media presence, effortless
playing techniques, unique tone quality, and showmanship throughout his career.
ContributorsWu, Shengwen (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Carpenter, Ellon (Committee member) / Kocour, Michael (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2019
Description
"Chronos" is a composition by the great jazz pianist, Aaron Parks. Originally arranged for a quartet consisting of piano, upright bass, drums and tenor saxophone, I sought to arrange the piece for a sextet consisting of trombone, alto saxophone, tenor saxophone, guitar, upright, bass, and drums. This thesis outlines my process as I transcribed "Chronos" from the original recording and then arranged it for a new ensemble. It also discusses the difficulties faced in all the phases of the project from transcribing to rehearsing and performing the work. My arrangement is included with the thesis for those who wish to analyze the music as well as a recording of a live performance of my arrangement at The Nash in downtown Phoenix on April 7th, 2015.
ContributorsMcdaniel, Sean Wesley (Author) / Kocour, Michael (Thesis director) / Haines, Ryan (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2015-05
ContributorsASU Library. Music Library (Publisher)
Description
Witching Hours is the debut studio album of Chicago-born, Phoenix-residing trumpet player John Michael Sherman. It is a consummation of his work in the Arizona State University jazz studies program both as a performer and composer. Featured on the album are several other musicians who John Michael played alongside throughout his tenure at ASU, including Chaz Martineau on tenor saxophone, Evan Rees on piano, Reid Riddiough on guitar, Vince Thiefain on bass, Matt McClintock on drums, and Dan Meadows on baritone saxophone. The album features seven pieces, all original compositions or arrangements. The first track, "Workin' My Nerves", is a blues shuffle in the key of F. This is followed by "Scarborough Fair", an arrangement of the classic English folk tune in a rock style. The title track, "Witching Hours", is an cadaverous linear composition in 7/4 which is followed by "Goliath", a pseudo-tone poem about the biblical giant. "I Should Have Known" is a pensive ballad featuring an a capella intro and cadenza, followed by the most recent composition, a minor blues-esque piece entitled "Who Said That?" The final track, "Don't Change A Thing", is an upbeat samba which was written in John Michael's first year of college. These pieces demonstrate an understanding of the jazz tradition and exhibit influences from such musicians as Clifford Brown, Freddie Hubbard, Wayne Shorter, and Snarky Puppy. The album was recorded at Tempest Recording in Tempe and produced by Clarke Rigsby. Clarke is a veteran recording engineer and is the first choice of many of Phoenix's finest jazz musicians, including thesis director and head of the ASU jazz department Michael Kocour. The pieces were composed and recorded under the guidance of Mike Kocour and Jeff Libman. Witching Hours represents a culmination of John Michael's course in the Arizona State University jazz department and his endeavors as a trumpet player and composer.
ContributorsSherman, John Michael (Author) / Kocour, Michael (Thesis director) / Libman, Jeffrey (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05