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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
Description
The Volume-of-Fluid method is a popular method for interface tracking in Multiphase applications within Computational Fluid Dynamics. To date there exists several algorithms for reconstruction of a geometric interface surface. Of these are the Finite Difference algorithm, Least Squares Volume-of-Fluid Interface Reconstruction Algorithm, LVIRA, and the Efficient Least Squares Volume-of-Fluid Interface Reconstruction Algorithm, ELVIRA. Along with these geometric interface reconstruction algorithms, there exist several volume-of-fluid transportation algorithms. This paper will discuss two operator-splitting advection algorithms and an unsplit advection algorithm. Using these three interface reconstruction algorithms, and three advection algorithms, a comparison will be drawn to see how different combinations of these algorithms perform with respect to accuracy as well as computational expense.
ContributorsKedelty, Dominic (Author) / Herrmann, Marcus (Thesis advisor) / Huang, Huei-Ping (Committee member) / Chen, Kangping (Committee member) / Arizona State University (Publisher)
Created2015
Description
The flow around a golf ball is studied using direct numerical simulation (DNS). An immersed boundary approach is adopted in which the incompressible Navier-Stokes equations are solved using a fractional step method on a structured, staggered grid in cylindrical coordinates. The boundary conditions on the surface are imposed using momentum forcing in the vicinity of the boundary. The flow solver is parallelized using a domain decomposition strategy and message passing interface (MPI), and exhibits linear scaling on as many as 500 processors. A laminar flow case is presented to verify the formal accuracy of the method. The immersed boundary approach is validated by comparison with computations of the flow over a smooth sphere. Simulations are performed at Reynolds numbers of 2.5 × 104 and 1.1 × 105 based on the diameter of the ball and the freestream speed and using grids comprised of more than 1.14 × 109 points. Flow visualizations reveal the location of separation, as well as the delay of complete detachment. Predictions of the aerodynamic forces at both Reynolds numbers are in reasonable agreement with measurements. Energy spectra of the velocity quantify the dominant frequencies of the flow near separation and in the wake. Time-averaged statistics reveal characteristic physical patterns in the flow as well as local trends within dimples. A mechanism of drag reduction due to the dimples is confirmed, and metrics for dimple optimization are proposed.
ContributorsSmith, Clinton E (Author) / Squires, Kyle D (Thesis advisor) / Balaras, Elias (Committee member) / Herrmann, Marcus (Committee member) / Adrian, Ronald (Committee member) / Stanzione, Daniel C (Committee member) / Calhoun, Ronald (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The evolution of single hairpin vortices and multiple interacting hairpin vortices are studied in direct numerical simulations of channel flow at Re-tau=395. The purpose of this study is to observe the effects of increased Reynolds number and varying initial conditions on the growth of hairpins and the conditions under which single hairpins autogenerate hairpin packets. The hairpin vortices are believed to provide a unified picture of wall turbulence and play an important role in the production of Reynolds shear stress which is directly related to turbulent drag. The structures of the initial three-dimensional vortices are extracted from the two-point spatial correlation of the fully turbulent direct numerical simulation of the velocity field by linear stochastic estimation and embedded in a mean flow having the profile of the fully turbulent flow. The Reynolds number of the present simulation is more than twice that of the Re-tau=180 flow from earlier literature and the conditional events used to define the stochastically estimated single vortex initial conditions include a number of new types of events such as quasi-streamwise vorticity and Q4 events. The effects of parameters like strength, asymmetry and position are evaluated and compared with existing results in the literature. This study then attempts to answer questions concerning how vortex mergers produce larger scale structures, a process that may contribute to the growth of length scale with increasing distance from the wall in turbulent wall flows. Multiple vortex interactions are studied in detail.
ContributorsParthasarathy, Praveen Kumar (Author) / Adrian, Ronald (Thesis advisor) / Huang, Huei-Ping (Committee member) / Herrmann, Marcus (Committee member) / Arizona State University (Publisher)
Created2011
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26