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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
Earth's topographic surface forms an interface across which the geodynamic and geomorphic engines interact. This interaction is best observed along crustal margins where topography is created by active faulting and sculpted by geomorphic processes. Crustal deformation manifests as earthquakes at centennial to millennial timescales. Given that nearly half of Earth's human population lives along active fault zones, a quantitative understanding of the mechanics of earthquakes and faulting is necessary to build accurate earthquake forecasts. My research relies on the quantitative documentation of the geomorphic expression of large earthquakes and the physical processes that control their spatiotemporal distributions. The first part of my research uses high-resolution topographic lidar data to quantitatively document the geomorphic expression of historic and prehistoric large earthquakes. Lidar data allow for enhanced visualization and reconstruction of structures and stratigraphy exposed by paleoseismic trenches. Lidar surveys of fault scarps formed by the 1992 Landers earthquake document the centimeter-scale erosional landforms developed by repeated winter storm-driven erosion. The second part of my research employs a quasi-static numerical earthquake simulator to explore the effects of fault roughness, friction, and structural complexities on earthquake-generated deformation. My experiments show that fault roughness plays a critical role in determining fault-to-fault rupture jumping probabilities. These results corroborate the accepted 3-5 km rupture jumping distance for smooth faults. However, my simulations show that the rupture jumping threshold distance is highly variable for rough faults due to heterogeneous elastic strain energies. Furthermore, fault roughness controls spatiotemporal variations in slip rates such that rough faults exhibit lower slip rates relative to their smooth counterparts. The central implication of these results lies in guiding the interpretation of paleoseismically derived slip rates that are used to form earthquake forecasts. The final part of my research evaluates a set of Earth science-themed lesson plans that I designed for elementary-level learning-disabled students. My findings show that a combination of concept delivery techniques is most effective for learning-disabled students and should incorporate interactive slide presentations, tactile manipulatives, teacher-assisted concept sketches, and student-led teaching to help learning-disabled students grasp Earth science concepts.
ContributorsHaddad, David Elias (Author) / Arrowsmith, Ramon (Thesis advisor) / Reynolds, Stephen (Committee member) / Semken, Steven (Committee member) / Shirzaei, Manoochehr (Committee member) / Whipple, Kelin (Committee member) / Zielke, Olaf (Committee member) / Arizona State University (Publisher)
Created2014
Description
The Himalayan orogenic system is one of the youngest and most spectacular examples of a continent-continent collision on earth. Although the collision zone has been the subject of extensive research, fundamental questions remain concerning the architecture and evolution of the orogen. Of particular interest are the structures surrounding the 5 km high Tibetan Plateau, as these features record both the collisional and post-collisional evolution of the orogen. In this study we examine structures along the southwestern margin of the Tibetan Plateau, including the Karakoram (KFS) and Longmu Co (LCF) faults, and the Ladakh, Pangong and Karakoram Ranges. New low-temperature thermochronology data collected from across the Ladakh, Pangong and Karakoram Ranges improved the spatial resolution of exhumation patterns adjacent to the edge of the plateau. These data show a southwest to northeast decrease in cooling ages, which is the trailing end of a wave of decreased exhumation related to changes in the overall amount of north-south shortening accommodated across the region. We also posit that north-south shortening is responsible for the orientation of the LCF in India. Previously, the southern end of the LCF was unmapped. We used ASTER remotely sensed images to create a comprehensive lithologic map of the region, which allowed us to map the LCF into India. This mapping shows that this fault has been rotated into parallelism with the Karakoram fault system as a result of N-S shortening and dextral shear on the KFS. Additionally, the orientation and sense of motion along these two systems implies that they are acting as a conjugate fault pair, allowing the eastward extrusion of the Tibet. Finally, we identify and quantify late Quaternary slip on the Tangtse strand of the KFS, which was previously believed to be inactive. Our study found that this fault strand accommodated ca. 6 mm/yr of slip over the last ca. 33-6 ka. Additionally, we speculate that slip is temporally partitioned between the two fault strands, implying that this part of the fault system is more complex than previously believed.
ContributorsBohon, Wendy (Author) / Arrowsmith, Ramon (Thesis advisor) / Hodges, Kip V (Thesis advisor) / Whipple, Kelin X (Committee member) / Heimsath, Arjun (Committee member) / Reynolds, Steven (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
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 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
Description
Meter-resolution topography gathered by LiDAR (Light Detection and Ranging) has become an indispensable tool for better understanding of many surface processes including those sculpting landscapes that record information about earthquake hazards for example. For this reason, and because of the spectacular representation of the phenomena that these data provide, it is appropriate to integrate these data into Earth science educational materials. I seek to answer the following research question: "will using the LiDAR topography data instead of, or alongside, traditional visualizations and teaching methods enhance a student's ability to understand geologic concepts such as plate tectonics, the earthquake cycle, strike-slip faults, and geomorphology?" In order to answer this question, a ten-minute introductory video on LiDAR and its uses for the study of earthquakes entitled "LiDAR: Illuminating Earthquake Hazards" was produced. Additionally, LiDAR topography was integrated into the development of an undergraduate-level educational activity, the San Andreas fault (SAF) earthquake cycle activity, designed to teach introductory Earth science students about the earthquake cycle. Both the LiDAR video and the SAF activity were tested in undergraduate classrooms in order to determine their effectiveness. A pretest and posttest were administered to introductory geology lab students. The results of these tests show a notable increase in understanding LiDAR topography and its uses for studying earthquakes from pretest to posttest after watching the video on LiDAR, and a notable increase in understanding the earthquake cycle from pretest to posttest using the San Andreas Fault earthquake cycle exercise. These results suggest that the use of LiDAR topography within these educational tools is beneficial for students when learning about the earthquake cycle and earthquake hazards.
ContributorsRobinson, Sarah Elizabeth (Author) / Arrowsmith, Ramon (Thesis advisor) / Reynolds, Stephen J. (Committee member) / Semken, Steven (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26