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Description
This thesis concerns the role of geometric imperfections on assemblies in which the location of a target part is dependent on supports at two features. In some applications, such as a turbo-machine rotor that is supported by a series of parts at each bearing, it is the interference or clearance at a functional target feature, such as at the blades that must be controlled. The first part of this thesis relates the limits of location for the target part to geometric imperfections of other parts when stacked-up in parallel paths. In this section parts are considered to be rigid (non-deformable). By understanding how much of variation from the supporting parts contribute to variations of the target feature, a designer can better utilize the tolerance budget when assigning values to individual tolerances. In this work, the T-Map®, a spatial math model is used to model the tolerance accumulation in parallel assemblies. In other applications where parts are flexible, deformations are induced when parts in parallel are clamped together during assembly. Presuming that perfectly manufactured parts have been designed to fit perfectly together and produce zero deformations, the clamping-induced deformations result entirely from the imperfect geometry that is produced during manufacture. The magnitudes and types of these deformations are a function of part dimensions and material stiffnesses, and they are limited by design tolerances that control manufacturing variations. These manufacturing variations, if uncontrolled, may produce high enough stresses when the parts are assembled that premature failure can occur before the design life. The last part of the thesis relates the limits on the largest von Mises stress in one part to functional tolerance limits that must be set at the beginning of a tolerance analysis of parts in such an assembly.
ContributorsJaishankar, Lupin Niranjan (Author) / Davidson, Joseph K. (Thesis advisor) / Shah, Jami J. (Committee member) / Mignolet, Marc P (Committee member) / Arizona State University (Publisher)
Created2012
Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
Mostly, manufacturing tolerance charts are used these days for manufacturing tolerance transfer but these have the limitation of being one dimensional only. Some research has been undertaken for the three dimensional geometric tolerances but it is too theoretical and yet to be ready for operator level usage. In this research, a new three dimensional model for tolerance transfer in manufacturing process planning is presented that is user friendly in the sense that it is built upon the Coordinate Measuring Machine (CMM) readings that are readily available in any decent manufacturing facility. This model can take care of datum reference change between non orthogonal datums (squeezed datums), non-linearly oriented datums (twisted datums) etc. Graph theoretic approach based upon ACIS, C++ and MFC is laid out to facilitate its implementation for automation of the model. A totally new approach to determining dimensions and tolerances for the manufacturing process plan is also presented. Secondly, a new statistical model for the statistical tolerance analysis based upon joint probability distribution of the trivariate normal distributed variables is presented. 4-D probability Maps have been developed in which the probability value of a point in space is represented by the size of the marker and the associated color. Points inside the part map represent the pass percentage for parts manufactured. The effect of refinement with form and orientation tolerance is highlighted by calculating the change in pass percentage with the pass percentage for size tolerance only. Delaunay triangulation and ray tracing algorithms have been used to automate the process of identifying the points inside and outside the part map. Proof of concept software has been implemented to demonstrate this model and to determine pass percentages for various cases. The model is further extended to assemblies by employing convolution algorithms on two trivariate statistical distributions to arrive at the statistical distribution of the assembly. Map generated by using Minkowski Sum techniques on the individual part maps is superimposed on the probability point cloud resulting from convolution. Delaunay triangulation and ray tracing algorithms are employed to determine the assembleability percentages for the assembly.
ContributorsKhan, M Nadeem Shafi (Author) / Phelan, Patrick E (Thesis advisor) / Montgomery, Douglas C. (Committee member) / Farin, Gerald (Committee member) / Roberts, Chell (Committee member) / Henderson, Mark (Committee member) / Arizona State University (Publisher)
Created2011
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsPagano, Caio, 1940- (Performer) / Mechetti, Fabio (Conductor) / Buck, Elizabeth (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Rodrigues, Christiano (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Avanti Festival Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-02
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27