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- Genre: Masters Thesis
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
Peatlands represent 3% of the earth’s surface but have been estimated to contain up to 30% of all terrestrial soil organic carbon and release an estimated 40% of global atmospheric CH4 emissions. Contributors to the production of CH4 are methanogenic Archaea through a coupled metabolic dependency of end products released by heterotrophic bacteria within the soil in the absence of O2. To better understand how neighboring bacterial communities can influence methanogenesis, the isolation and physiological characterization of two novel isolates, one Methanoarchaeal isolate and one Acidobacterium isolate identified as QU12MR and R28S, respectively, were targeted in this present study. Co-culture growth in varying temperatures of the QU12MR isolate paired with an isolated Clostridium species labeled R32Q and the R28S isolate were also investigated for possible influences in CH4 production. Phylogenetic analysis of strain QU12MR was observed as a member of genus Methanobacterium sharing 98% identity similar to M. arcticum strain M2 and 99% identity similar to M. uliginosum strain P2St. Phylogenetic analysis of strain R28S was associated with genus Acidicapsa from the phylum Acidobacteria, sharing 97% identity to A. acidisoli strain SK-11 and 96% identity similarity to Occallatibacter savannae strain A2-1c. Bacterial co-culture growth and archaeal CH4 production was present in the five temperature ranges tested. However, bacterial growth and archaeal CH4 production was less than what was observed in pure culture analysis after 21 days of incubation.
ContributorsRamirez, Zeni Elizia (Author) / Cadillo-Quiroz, Hinsby (Thesis advisor) / Roberson, Robert (Thesis advisor) / Wang, Xuan (Committee member) / Arizona State University (Publisher)
Created2018
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
Chemical fertilizers are commonly used for controlled environment agriculture because they provide essential plant nutrient efficiently. However, rising fertilizer costs, global phosphorous shortage, and the negative impacts of producing and using chemical fertilizer are concerns for sustainable crop production. As sustainable alternatives to chemical fertilizers, there is a growing interest in using organic fertilizers with beneficial plant growth promoting microorganisms. The objectives of this research were to investigate how the application of plant growth promoting bacteria and arbuscular mycorrhizal fungi influences plant growth of lettuce (Lactuca sativa) and tomato (Solanum lycopersicum) seedlings in soilless media under organic fertilization. In the first study, the effects of Azosprillium brasilense and Rhizophagus intraradices inoculation on lettuce and tomato seedling growth were quantified under two different organic fertilizer types compared to under chemical fertilizer. The results showed that A. brasilense and R. intraradices had little to no effect on any growth parameter measured in either species regardless of fertilizer type. In the second study, an investigation of the co-inoculation of A. brasilense and R. intraradices or increasing the application frequency of A. brasilense or/and R. intraradices increased plant growth promoting effects in lettuce ‘Cherokee’ and ‘Rex’ grown under organic fertilization. An application frequency of every 2-days of the R. intraradices without or with A. brasilense increased shoot fresh weight in both lettuce cultivars by 51-58%, compared to un-inoculated control. In contrast, lettuce seedling growth were similar without or with applying R. intraradices weekly or A. brasilense regardless of frequency. Together, the results suggest that applying R. intraradices with a proper application frequency can enhance plant growth of lettuce under organic fertilization.
ContributorsMcClintic, Nicklas Charles (Author) / Park, Yujin (Thesis advisor) / Penton, Christopher R (Committee member) / Chen, Changbin (Committee member) / Arizona State University (Publisher)
Created2022
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
Nitrogen removal and energy reduction in wastewater treatment are shared goals. Approaches to achieve those goals include the techniques of shortcut nitrogen removal utilizing nitrite shunt, biocatalyst, nitritation, deammonification, and simultaneous nitrification-denitrification. The practice of those techniques is newer in the industry of wastewater treatment but continues to develop, along with the understanding of the biological and chemical activities that drive those processes. The kinetics and stoichiometry of traditional and shortcut nitrogen removal reactions are generally well understood to date. However, the thermodynamics of those processes are complex and deserve additional research to better understand the dominant factors that drive cell synthesis. Additionally, the implementation of nitrogen shortcut techniques can reduce the footprint of wastewater treatment processes that implement nitrogen removal by approximately 5 percent and can reduce operating costs by between 12 and 26 percent annually. Combined, nitrogen shortcut techniques can contribute to significant reduction in the long-term cost to operate, due to lower energy and consumable requirements, fast reaction times resulting in shorter solids retention times, and improvement efficiency in nitrogen removal from wastewater. This dissertation explores and defines the dominant factors that contribute to the success of efficiencies in traditional and shortcut nitrogen removal techniques, focusing on the natural microbiological processes. The culmination of these efforts was used to develop decision matrices to promote consideration of nitrogen shortcut techniques by practitioners during conceptual planning and design of wastewater treatment facilities.
ContributorsTack, Frederick Henry (Author) / Fox, Peter (Thesis advisor) / Krajmalnik-Brown, Rosa (Committee member) / Abbaszadegan, Morteza (Committee member) / Alum, Absar (Committee member) / Arizona State University (Publisher)
Created2021