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- Language: English
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
While SPICE circuit simulation software gives researchers and industry accurate information regarding the behavior and characteristics of circuits, the auditory effect of SPICE circuit simulation on audio circuits is not well documented. This project takes a thoroughly analyzed and popular audio effect circuit called the Ibanez Tubescreamer and simulates its distortion effect on a .wav file in order to hear the effect of SPICE simulation. Specifically, the TS-808 schematic is drawn in the SPICE program LTSPICE and simulated using generated sinusoids and recorded .wav files. Specific components are imported using .MODEL and .SUBCKT to accurately represent the diodes, bipolar transistors, op amps, and other components in order to hear how each component affects the response. Various transient responses are extracted as .wav files and assembled as figures in order to characterize the result of the circuit on the input. Once the actual circuit is built and debugged, all of the same transient analysis is applied and then compared to the SPICE simulation figures gathered in the digital simulation. These results are then compared along with a subjective hearing test of the digital simulation and analog circuit in order to test the validity of the SPICE simulations. The digital simulations reveal that the distortion follows the signature characteristics of Ibanez Tubescreamer which shows that SPICE simulation will give insight into the real effects of audio circuits modeled in SPICE programs. Diodes--such as Silicon, Germanium, Zener, Red LEDs and Blue LEDs--can dramatically change the waveforms and sound of the inputs within the circuit where as the Op-amps--such as the JRC4558, TL072, and NE5532--have little to no effect on the waveforms and subjective effects on the output .wav files. After building the circuit and hearing the difference between the analog circuit and digital simulation, the differences between the two are apparent but very similar in nature--proving that the SPICE simulation can give meaningful insight into the sound of the actual analog circuit. Some of the differences can be explained by the variance of equipment and environment used in recording and playback. Since this project did not use high fidelity audio recording equipment and consistency in the equipment used for playback, it is uncertain if the simulation and actual circuit could be classified as completely accurate. Any further work on the project would be recording and playing back in a constant environment and looking into a wider range of specific components instead of looking into one permutation.
ContributorsMacias, Cole Thomas (Author) / Goryll, Michael (Thesis director) / Yu, Shimeng (Committee member) / Electrical Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12