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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
This thesis explores the different aspects of higher curvature gravity. The "membrane paradigm" of black holes in Einstein gravity is extended to black holes in f(R) gravity and it is shown that the higher curvature effects of f(R) gravity causes the membrane fluid to become non-Newtonian. Next a modification of the null energy condition in gravity is provided. The purpose of the null energy condition is to filter out ill-behaved theories containing ghosts. Conformal transformations, which are simple redefinitions of the spacetime, introduces serious violations of the null energy condition. This violation is shown to be spurious and a prescription for obtaining a modified null energy condition, based on the universality of the second law of thermodynamics, is provided. The thermodynamic properties of the black holes are further explored using merger of extremal black holes whose horizon entropy has topological contributions coming from the higher curvature Gauss-Bonnet term. The analysis refutes the prevalent belief in the literature that the second law of black hole thermodynamics is violated in the presence of the Gauss-Bonnet term in four dimensions. Subsequently a specific class of higher derivative scalar field theories called the galileons are obtained from a Kaluza-Klein reduction of Gauss-Bonnet gravity. Galileons are null energy condition violating theories which lead to violations of the second law of thermodynamics of black holes. These higher derivative scalar field theories which are non-minimally coupled to gravity required the development of a generalized method for obtaining the equations of motion. Utilizing this generalized method, it is shown that the inclusion of the Gauss-Bonnet term made the theory of gravity to become higher derivative, which makes it difficult to make any statements about the connection between the violation of the second law of thermodynamics and the galileon fields.
ContributorsChatterjee, Saugata (Author) / Parikh, Maulik K (Thesis advisor) / Easson, Damien (Committee member) / Davies, Paul (Committee member) / Arizona State University (Publisher)
Created2014
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
An array of north-striking, left-stepping, active normal faults is situated along the southwestern margin of the Gulf of California. This normal fault system is the marginal fault system of the oblique-divergent plate boundary within the Gulf of California. To better understand the role of upper-crustal processes during development of an obliquely rifted plate margin, gravity surveys were conducted across the normal-fault-bounded basins within the gulf-margin array and, along with optically stimulated luminescence dating of offset surfaces, fault-slip rates were estimated and fault patterns across basins were assessed, providing insight into sedimentary basin evolution. Additionally, detailed geologic and geomorphic maps were constructed along two faults within the system, leading to a more complete understanding of the role of individual normal faults within a larger array. These faults slip at a low rate (0.1-1 mm/yr) and have relatively shallow hanging wall basins (~500-3000 m). Overall, the gulf-margin faults accommodate protracted, distributed deformation at a low rate and provide a minor contribution to overall rifting. Integrating figures with text can lead to greater science learning than when either medium is presented alone. Textbooks, composed of text and graphics, are a primary source of content in most geology classes. It is essential to understand how students approach learning from text and figures in textbook-style learning materials and how the arrangement of the text and figures influences their learning approach. Introductory geology students were eye tracked while learning from textbook-style materials composed of text and graphics. Eye fixation data showed that students spent less time examining the figure than the text, but the students who more frequently examined the figure tended to improve more from the pretest to the posttest. In general, students tended to examine the figure at natural breaks in the reading. Textbook-style materials should, therefore, be formatted to include a number of natural breaks so that learners can pause to inspect the figure without the risk of losing their place in the reading and to provide a chance to process the material in small chunks. Multimedia instructional materials should be designed to support the cognitive processes of the learner.
ContributorsBusch, Melanie M. D (Author) / Arrowsmith, Ramon (Thesis advisor) / Reynolds, Stephen (Thesis advisor) / Chi, Michelene (Committee member) / Semken, Steven (Committee member) / Tyburczy, James (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
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17