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- All Subjects: Reduction
- Creators: Baldwin, Jeremy Bart
- Creators: Kim, Hyewon
Description
An investigation of phase noise in amplifier and voltage-controller oscillator (VCO) circuits was conducted to show that active direct-current (DC) bias techniques exhibit lower phase noise performance than traditional resistive DC bias techniques. Low-frequency high-gain amplifiers like those found in audio applications exhibit much better 1/f phase noise performance and can be used to bias amplifier or VCO circuits that work at much higher frequencies to reduce the phase modulation caused by higher frequency devices. An improvement in single-side-band (SSB) phase noise of 15 dB at offset frequencies less than 50 KHz was simulated and measured. Residual phase noise of an actively biased amplifier also exhibited significant noise improvements when compared to an equivalent resistive biased amplifier.
ContributorsBaldwin, Jeremy Bart (Author) / Aberle, James T., 1961- (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Ozev, Sule (Committee member) / Arizona State University (Publisher)
Created2010
Description
The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvořák’s Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the original orchestration, such as inaccurate indications for dynamics, rhythms, and notes. In rehearsal and performance, the pianist is challenged to adapt and transform one of the existing reductions into a playable and productive piano reduction, one which creates Dvořák’s full orchestral sonorities while retaining clarity of voicing. The resulting sound can be infinite in variety, as individual decisions and reductions may differ greatly. This paper will explore the following: how to reduce this orchestral score and solve the technical problem involved in orchestral writing for piano while effectively producing the sound of the orchestra in the piano reduction. There will be a literature review on important published reductions and a brief history of the work and composer. While it is not possible to discuss in detail each passage that has been revised or altered, this paper will focus on and analyze representative and substantial passages, including the perspective of two different reductions: Bärenreiter (2011) and Bärenreiter Praha (2004). It will provide a detailed demonstration of each example and will make suggestions for changes which will concentrate on capturing the essence of the orchestral score at the piano. Chapter one introduces and presents current editions. Chapters two, three and four will discuss each movement of the concerto with detailed explanations about changes in certain passages and sections. The appendix will feature a new revised reduction of Dvořák’s Cello concerto in B minor.
ContributorsKim, Hyewon (Author) / Campbell, Andrew (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020