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- Creators: Arizona State University
- Creators: Koonce, Frank
Description
A principal goal of this dissertation is to study stochastic optimization and real-time scheduling in cyber-physical systems (CPSs) ranging from real-time wireless systems to energy systems to distributed control systems. Under this common theme, this dissertation can be broadly organized into three parts based on the system environments. The first part investigates stochastic optimization in real-time wireless systems, with the focus on the deadline-aware scheduling for real-time traffic. The optimal solution to such scheduling problems requires to explicitly taking into account the coupling in the deadline-aware transmissions and stochastic characteristics of the traffic, which involves a dynamic program that is traditionally known to be intractable or computationally expensive to implement. First, real-time scheduling with adaptive network coding over memoryless channels is studied, and a polynomial-time complexity algorithm is developed to characterize the optimal real-time scheduling. Then, real-time scheduling over Markovian channels is investigated, where channel conditions are time-varying and online channel learning is necessary, and the optimal scheduling policies in different traffic regimes are studied. The second part focuses on the stochastic optimization and real-time scheduling involved in energy systems. First, risk-aware scheduling and dispatch for plug-in electric vehicles (EVs) are studied, aiming to jointly optimize the EV charging cost and the risk of the load mismatch between the forecasted and the actual EV loads, due to the random driving activities of EVs. Then, the integration of wind generation at high penetration levels into bulk power grids is considered. Joint optimization of economic dispatch and interruptible load management is investigated using short-term wind farm generation forecast. The third part studies stochastic optimization in distributed control systems under different network environments. First, distributed spectrum access in cognitive radio networks is investigated by using pricing approach, where primary users (PUs) sell the temporarily unused spectrum and secondary users compete via random access for such spectrum opportunities. The optimal pricing strategy for PUs and the corresponding distributed implementation of spectrum access control are developed to maximize the PU's revenue. Then, a systematic study of the nonconvex utility-based power control problem is presented under the physical interference model in ad-hoc networks. Distributed power control schemes are devised to maximize the system utility, by leveraging the extended duality theory and simulated annealing.
ContributorsYang, Lei (Author) / Zhang, Junshan (Thesis advisor) / Tepedelenlioğlu, Cihan (Committee member) / Xue, Guoliang (Committee member) / Ying, Lei (Committee member) / Arizona State University (Publisher)
Created2012
Description
This thesis introduces the Model-Based Development of Multi-iRobot Toolbox (MBDMIRT), a Simulink-based toolbox designed to provide the means to acquire and practice the Model-Based Development (MBD) skills necessary to design real-time embedded system. The toolbox was developed in the Cyber-Physical System Laboratory at Arizona State University. The MBDMIRT toolbox runs under MATLAB/Simulink to simulate the movements of multiple iRobots and to control, after verification by simulation, multiple physical iRobots accordingly. It adopts the Simulink/Stateflow, which exemplifies an approach to MBD, to program the behaviors of the iRobots. The MBDMIRT toolbox reuses and augments the open-source MATLAB-Based Simulator for the iRobot Create from Cornell University to run the simulation. Regarding the mechanism of iRobot control, the MBDMIRT toolbox applies the MATLAB Toolbox for the iRobot Create (MTIC) from United States Naval Academy to command the physical iRobots. The MBDMIRT toolbox supports a timer in both the simulation and the control, which is based on the local clock of the PC running the toolbox. In addition to the build-in sensors of an iRobot, the toolbox can simulate four user-added sensors, which are overhead localization system (OLS), sonar sensors, a camera, and Light Detection And Ranging (LIDAR). While controlling a physical iRobot, the toolbox supports the StarGazer OLS manufactured by HAGISONIC, Inc.
ContributorsSu, Shih-Kai (Author) / Fainekos, Georgios E (Thesis advisor) / Sarjoughian, Hessam S. (Committee member) / Artemiadis, Panagiotis K (Committee member) / Arizona State University (Publisher)
Created2012
Description
Numerous orchestral reductions for piano are plagued by cumbersome passages that impede pianists from delivering phrases with flow and elegance. The vocal works of George Frideric Handel (1685–1759) and Richard Wagner (1813–1883) are among the more unwieldy of these. While arrangers of the piano vocal scores by these two composers admirably include as much orchestration as possible, their efforts often result in writing that is not idiomatic for the piano. The frustrating difficulties in the orchestral reductions of Handel’s “Empio, dirò, tu sei” (Giulio Cesare), his Messiah chorus “For unto us a child is born” as well as Wagner’s aria “Du bist der Lenz” (Die Walküre) all plead for a new, fresh arrangement for the working pianist. Concerning itself with the formation of one’s hands, stamina preservation, and the need to give proper support to the singers, this paper makes examples of these three pieces to document and justify the steps and techniques one may take to customize both these and any variety of orchestral reductions. With great emphasis on the methodology of rewriting operatic and choral orchestral reductions, this document presents newly arranged note–for–note piano vocal scores of the above arias and chorus. By customizing and rewriting complex scores, our partners benefit by singing above the identical accompaniment every time. It is the intent that the collaborative pianist can apply these methods to future rewrites, with the result of producing scores that are conducive to proper technique and flow.
ContributorsPeterman, Jeremy Patrick (Author) / Campbell, Andrew (Thesis advisor) / FitzPatrick, Carole (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
Description
Due to the recent inclusion of a semi-regular "News from Latin America" column since 2007 in The Clarinet magazine and an increased emphasis on world music genre performances at the International Clarinet Association's annual ClarinetFest, Latin American clarinet compositions have become increasingly popular. Consequently, Latin American performers and composers are receiving more attention and recognition than ever before. The contemporary repertoire for clarinet increasingly includes works highlighted at the ClarinetFest international festivals, and many clarinetists express interest in finding new Latin American compositions. In order to supplement this growing Latin American repertoire and to introduce the life and works of Peruvian composer Armando Guevara Ochoa (1926-2013), this project presents a brief biography of the composer, a discussion of his musical style, and new editions of his popular works transcribed for clarinet. A recording of these works is included in an appendix to this document. Prior to this research, much of the scholarship written about Guevara Ochoa was in Spanish. While most sources and scholars relate that Guevara Ochoa composed over 400 works, the whereabouts of fewer than 200 are currently known. This project will supplement Guevara Ochoa's clarinet literature and raise awareness of his compositions in English-speaking countries.
ContributorsPalmer, Katherine H (Author) / Spring, Robert (Thesis advisor) / Micklich, Albie (Committee member) / Norton, Kay (Committee member) / Solís, Ted (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2013
Description
Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Soler's composition style. Five sonatas are analyzed in connection to Spanish folk music, and part of this study's focus was arranging the sonatas for two guitars: R. 48, 50, 60, 106 and 114. An overview of the current arrangements of Soler's sonatas for guitar is included in Appendix A.
ContributorsCrissman, Jonathan (Author) / Koonce, Frank (Thesis advisor) / Swartz, Jonathan (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2014
Description
This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history of the sonata collection, an analysis of the process of translating a Baroque solo sonata to the guitar, and a guide for performance. The work was chosen because of its significance and popularity within violin repertoire, and the suitability of the solo sonata genre for performance on a guitar. The first section of this project addresses the history and appeal of Biber and the Mystery Sonatas. It is supplemented by a brief survey of guitar transcriptions of Biber's compositions, and the value of the present edition in modern guitar literature. The second section explores the process and challenges of arranging the Mystery Sonatas for solo guitar, followed by a summation of the general allowances and limitations the genre offers to arrangers. The third section focuses on performance practice issues encountered in adapting this series and other Baroque solo sonatas to the guitar. The project concludes with the arrangement, complemented with the original violin and continuo parts for comparison.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions.
ContributorsLake, Brendan (Author) / Koonce, Frank (Thesis advisor) / Oldani, Robert W. (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project presents eight harpsichord sonatas, 3, 5, 10, 12, 13, 18, 19, and 21, by Sebastián de Albero (1722-1756), arranged for the classical guitar. These pieces were chosen because of the success of other eighteenth-century Iberian harpsichord music that has been arranged for guitar, including works by composers such as Domenico Scarlatti, Carlos Seixas, and Antonio Soler. The popularity and enjoyment of Scarlatti's harpsichord sonatas on the guitar today was the inspiration for this project.
Historically, guitarists have used arrangements as a means to expand the guitar's repertoire. The late eighteenth century, especially, was a time in which the instrument was undergoing significant changes from being a five-course instrument into becoming the standard six single string instrument of today. Also, composer/guitarists at that time were beginning to abandon tablature in favor of modern staff notation. Because of these changes, the amount of music originally written for the guitar from this period that is suitable to be played on a modern instrument is limited.
I chose to focus on eight selected sonatas from Sebastián Albero's Treinta Sonatas para Clavicordio because of the influence of Domenico Scarlatti's harpsichord arrangements for solo guitar. It is intriguing to note that Albero and Scarlatti both held positions at the Spanish Royal Chapel for a number of years and, in this capacity, may have influenced one another in their musical compositions and style. Certain similarities are documented in this paper.
Since Scarlatti's music has been successfully arranged, and is popular to play on modern guitar, it is hoped that these sonatas by Albero may enjoy similar success.
Historically, guitarists have used arrangements as a means to expand the guitar's repertoire. The late eighteenth century, especially, was a time in which the instrument was undergoing significant changes from being a five-course instrument into becoming the standard six single string instrument of today. Also, composer/guitarists at that time were beginning to abandon tablature in favor of modern staff notation. Because of these changes, the amount of music originally written for the guitar from this period that is suitable to be played on a modern instrument is limited.
I chose to focus on eight selected sonatas from Sebastián Albero's Treinta Sonatas para Clavicordio because of the influence of Domenico Scarlatti's harpsichord arrangements for solo guitar. It is intriguing to note that Albero and Scarlatti both held positions at the Spanish Royal Chapel for a number of years and, in this capacity, may have influenced one another in their musical compositions and style. Certain similarities are documented in this paper.
Since Scarlatti's music has been successfully arranged, and is popular to play on modern guitar, it is hoped that these sonatas by Albero may enjoy similar success.
ContributorsSloyka, Erik Robert (Author) / Koonce, Frank (Thesis advisor) / McLin, Katherine (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2014
Description
Cyber-Physical Systems (CPS) are being used in many safety-critical applications. Due to the important role in virtually every aspect of human life, it is crucial to make sure that a CPS works properly before its deployment. However, formal verification of CPS is a computationally hard problem. Therefore, lightweight verification methods such as testing and monitoring of the CPS are considered in the industry. The formal representation of the CPS requirements is a challenging task. In addition, checking the system outputs with respect to requirements is a computationally complex problem. In this dissertation, these problems for the verification of CPS are addressed. The first method provides a formal requirement analysis framework which can find logical issues in the requirements and help engineers to correct the requirements. Also, a method is provided to detect tests which vacuously satisfy the requirement because of the requirement structure. This method is used to improve the test generation framework for CPS. Finally, two runtime verification algorithms are developed for off-line/on-line monitoring with respect to real-time requirements. These monitoring algorithms are computationally efficient, and they can be used in practical applications for monitoring CPS with low runtime overhead.
ContributorsDokhanchi, Adel (Author) / Fainekos, Georgios (Thesis advisor) / Lee, Yann-Hang (Committee member) / Sarjoughian, Hessam S. (Committee member) / Shrivastava, Aviral (Committee member) / Arizona State University (Publisher)
Created2017
Description
The study and performance of J.S. Bach’s music has long been essential for every string musician. A transcription of the Flute Partita in A minor, BWV 1013, is an excellent addition to the double bass repertoire. This paper includes a performance guide that discusses the technical and musical considerations of each movement, and a new transcription for double bass.
Chapter 1 introduces the goals of the paper. Chapter 2 is an overview of the transcription that covers the reasoning behind the bowings, fingerings, note alterations, ornamentation, articulation, and interpretation included in the transcription. Chapters 3 through 6 discuss these technical and musical elements in the context of each movement of the Partita. There are two other transcriptions of this piece for double bass, both of which take a different approach to transcribing the music of Bach.
The transcription includes two different versions of the Partita: a version with bowings and note alterations, and a second version that also includes fingering suggestions. The bowings are based on Bach’s manuscript of the Violin Partitas in order to accurately recreate bowings that Bach would have written. The suggested fingerings serve as guidance for bassists who study this piece and are included separately to acknowledge that there are other fingering possibilities.
Chapter 1 introduces the goals of the paper. Chapter 2 is an overview of the transcription that covers the reasoning behind the bowings, fingerings, note alterations, ornamentation, articulation, and interpretation included in the transcription. Chapters 3 through 6 discuss these technical and musical elements in the context of each movement of the Partita. There are two other transcriptions of this piece for double bass, both of which take a different approach to transcribing the music of Bach.
The transcription includes two different versions of the Partita: a version with bowings and note alterations, and a second version that also includes fingering suggestions. The bowings are based on Bach’s manuscript of the Violin Partitas in order to accurately recreate bowings that Bach would have written. The suggested fingerings serve as guidance for bassists who study this piece and are included separately to acknowledge that there are other fingering possibilities.
ContributorsWang, Chunyang (Author) / Rotaru, Catalin (Thesis advisor) / Landschoot, Thomas (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018