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ContributorsOftedahl, Paul (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-29
ContributorsMarshall, Kimberly (Performer) / Meszler, Alexander (Performer) / Yatso, Toby (Narrator) / ASU Library. Music Library (Publisher)
Created2018-09-16
Description
In the past 10 to 15 years, there has been a tremendous increase in the amount of photovoltaic (PV) modules being both manufactured and installed in the field. Power plants in the hundreds of megawatts are continuously being turned online as the world turns toward greener and sustainable energy. Due to this fact and to calculate LCOE (levelized cost of energy), it is understandably becoming more important to comprehend the behavior of these systems as a whole by calculating two key data: the rate at which modules are degrading in the field; the trend (linear or nonlinear) in which the degradation is occurring. As opposed to periodical in field intrusive current-voltage (I-V) measurements, non-intrusive measurements are preferable to obtain these two key data since owners do not want to lose money by turning their systems off, as well as safety and breach of installer warranty terms. In order to understand the degradation behavior of PV systems, there is a need for highly accurate performance modeling. In this thesis 39 commercial PV power plants from the hot-dry climate of Arizona are analyzed to develop an understanding on the rate and trend of degradation seen by crystalline silicon PV modules. A total of three degradation rates were calculated for each power plant based on three methods: Performance Ratio (PR), Performance Index (PI), and raw kilowatt-hour. These methods were validated from in field I-V measurements obtained by Arizona State University Photovoltaic Reliability Lab (ASU-PRL). With the use of highly accurate performance models, the generated degradation rates may be used by the system owners to claim a warranty from PV module manufactures or other responsible parties.
ContributorsRaupp, Christopher (Author) / Tamizhmani, Govindasamy (Thesis advisor) / Srinivasan, Devarajan (Committee member) / Rogers, Bradley (Committee member) / Arizona State University (Publisher)
Created2016
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