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Description
Productivity in the construction industry is an essential measure of production efficiency and economic progress, quantified by craft laborers' time spent directly adding value to a project. In order to better understand craft labor productivity as an aspect of lean construction, an activity analysis was conducted at the Arizona State University Palo Verde Main engineering dormitory construction site in December of 2016. The objective of this analysis on craft labor productivity in construction projects was to gather data regarding the efficiency of craft labor workers, make conclusions about the effects of time of day and other site-specific factors on labor productivity, as well as suggest improvements to implement in the construction process. Analysis suggests that supporting tasks, such as traveling or materials handling, constitute the majority of craft labors' efforts on the job site with the highest percentages occurring at the beginning and end of the work day. Direct work and delays were approximately equal at about 20% each hour with the highest peak occurring at lunchtime between 10:00 am and 11:00 am. The top suggestion to improve construction productivity would be to perform an extensive site utilization analysis due to the confined nature of this job site. Despite the limitations of an activity analysis to provide a complete prospective of all the factors that can affect craft labor productivity as well as the small number of days of data acquisition, this analysis provides a basic overview of the productivity at the Palo Verde Main construction site. Through this research, construction managers can more effectively generate site plans and schedules to increase labor productivity.
ContributorsFord, Emily Lucile (Author) / Grau, David (Thesis director) / Chong, Oswald (Committee member) / Civil, Environmental and Sustainable Engineering Programs (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsASU Library. Music Library (Publisher)
Created2018-01-31
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
ContributorsHsu, Gabrielle (Performer) / Kierum, Caitlin (Performer) / Song, Yiqian (Performer) / Fox, Matt (Performer) / Lougheed, Julia (Performer) / Jones, Evelyn (Performer) / Miller, Isaac (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-14
ContributorsMoonitz, Olivia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-13
ContributorsAnderle, Jeff (Performer) / Wegehaupt, David (Performer) / Bennett, Joshua (Performer) / Clements, Katrina (Performer) / Dominguez, Vincent (Performer) / Druesedow, Libby (Performer) / Englert, Patrick (Performer) / Liang, Jack (Performer) / Moonitz, Olivia (Performer) / Ruth, Jeremy (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-09
ContributorsNeidermayer, Tyler (Performer) / Karam, Andrea Luque (Performer) / White, Jonathan (Performer) / Manka, Andrew (Performer) / Chaston, Aubrey (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
ContributorsSpring, Robert (Performer) / Gardner, Joshua (Performer) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Smith, J. B., 1957- (Performer) / Ryan, Russell (Contributor) / ASU Library. Music Library (Publisher)
Created2018-09-16