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Description
When a rolling ball exits a spiral tube, it typically maintains its final inertial state and travels along straight line in concordance with Newton's first law of motion. Yet, most people predict that the ball will curve, a "naive physics" misconception called the curvilinear impetus (CI) bias. In the current paper, we explore the ecological hypothesis that the CI bias arises from overgeneralization of correct motion of biological agents. Previous research has established that humans curve when exiting a spiral maze, and college students believe this motion is the same for balls and humans. The current paper consists of two follow up experiments. The first experiment tested the exiting behavior of rodents from a spiral rat maze. Though there were weaknesses in design and procedures of the maze, the findings support that rats do not behave like humans who exhibit the CI bias when exiting a spiral maze. These results are consistent with the CI bias being an overgeneralization of human motion, rather than generic biological motion. The second experiment tested physics teachers on their conception of how a humans and balls behave when exiting a spiral tube. Teachers demonstrated correct knowledge of the straight trajectory of a ball, but generalized the ball's behavior to human motion. Thus physics teachers exhibit the opposite bias from college students and presume that all motion is like inanimate motion. This evidence supports that this type of naive physics inertial bias is at least partly due to participants overgeneralizing both inanimate and animate motion to be the same, perhaps in an effort to minimize cognitive reference memory load. In short, physics training appears not to eliminate the bias, but rather to simply shift it from the presumption of stereotypical animate to stereotypical inanimate behavior.
ContributorsDye, Rosaline (Author) / Mcbeath, Michael K (Thesis advisor) / Sanabria, Federico (Committee member) / Megowan, Colleen (Committee member) / Arizona State University (Publisher)
Created2013
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
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
A good production schedule in a semiconductor back-end facility is critical for the on time delivery of customer orders. Compared to the front-end process that is dominated by re-entrant product flows, the back-end process is linear and therefore more suitable for scheduling. However, the production scheduling of the back-end process is still very difficult due to the wide product mix, large number of parallel machines, product family related setups, machine-product qualification, and weekly demand consisting of thousands of lots. In this research, a novel mixed-integer-linear-programming (MILP) model is proposed for the batch production scheduling of a semiconductor back-end facility. In the MILP formulation, the manufacturing process is modeled as a flexible flow line with bottleneck stages, unrelated parallel machines, product family related sequence-independent setups, and product-machine qualification considerations. However, this MILP formulation is difficult to solve for real size problem instances. In a semiconductor back-end facility, production scheduling usually needs to be done every day while considering updated demand forecast for a medium term planning horizon. Due to the limitation on the solvable size of the MILP model, a deterministic scheduling system (DSS), consisting of an optimizer and a scheduler, is proposed to provide sub-optimal solutions in a short time for real size problem instances. The optimizer generates a tentative production plan. Then the scheduler sequences each lot on each individual machine according to the tentative production plan and scheduling rules. Customized factory rules and additional resource constraints are included in the DSS, such as preventive maintenance schedule, setup crew availability, and carrier limitations. Small problem instances are randomly generated to compare the performances of the MILP model and the deterministic scheduling system. Then experimental design is applied to understand the behavior of the DSS and identify the best configuration of the DSS under different demand scenarios. Product-machine qualification decisions have long-term and significant impact on production scheduling. A robust product-machine qualification matrix is critical for meeting demand when demand quantity or mix varies. In the second part of this research, a stochastic mixed integer programming model is proposed to balance the tradeoff between current machine qualification costs and future backorder costs with uncertain demand. The L-shaped method and acceleration techniques are proposed to solve the stochastic model. Computational results are provided to compare the performance of different solution methods.
ContributorsFu, Mengying (Author) / Askin, Ronald G. (Thesis advisor) / Zhang, Muhong (Thesis advisor) / Fowler, John W (Committee member) / Pan, Rong (Committee member) / Sen, Arunabha (Committee member) / Arizona State University (Publisher)
Created2011
Description
This research develops heuristics to manage both mandatory and optional network capacity reductions to better serve the network flows. The main application discussed relates to transportation networks, and flow cost relates to travel cost of users of the network. Temporary mandatory capacity reductions are required by maintenance activities. The objective of managing maintenance activities and the attendant temporary network capacity reductions is to schedule the required segment closures so that all maintenance work can be completed on time, and the total flow cost over the maintenance period is minimized for different types of flows. The goal of optional network capacity reduction is to selectively reduce the capacity of some links to improve the overall efficiency of user-optimized flows, where each traveler takes the route that minimizes the traveler’s trip cost. In this dissertation, both managing mandatory and optional network capacity reductions are addressed with the consideration of network-wide flow diversions due to changed link capacities.
This research first investigates the maintenance scheduling in transportation networks with service vehicles (e.g., truck fleets and passenger transport fleets), where these vehicles are assumed to take the system-optimized routes that minimize the total travel cost of the fleet. This problem is solved with the randomized fixed-and-optimize heuristic developed. This research also investigates the maintenance scheduling in networks with multi-modal traffic that consists of (1) regular human-driven cars with user-optimized routing and (2) self-driving vehicles with system-optimized routing. An iterative mixed flow assignment algorithm is developed to obtain the multi-modal traffic assignment resulting from a maintenance schedule. The genetic algorithm with multi-point crossover is applied to obtain a good schedule.
Based on the Braess’ paradox that removing some links may alleviate the congestion of user-optimized flows, this research generalizes the Braess’ paradox to reduce the capacity of selected links to improve the efficiency of the resultant user-optimized flows. A heuristic is developed to identify links to reduce capacity, and the corresponding capacity reduction amounts, to get more efficient total flows. Experiments on real networks demonstrate the generalized Braess’ paradox exists in reality, and the heuristic developed solves real-world test cases even when commercial solvers fail.
This research first investigates the maintenance scheduling in transportation networks with service vehicles (e.g., truck fleets and passenger transport fleets), where these vehicles are assumed to take the system-optimized routes that minimize the total travel cost of the fleet. This problem is solved with the randomized fixed-and-optimize heuristic developed. This research also investigates the maintenance scheduling in networks with multi-modal traffic that consists of (1) regular human-driven cars with user-optimized routing and (2) self-driving vehicles with system-optimized routing. An iterative mixed flow assignment algorithm is developed to obtain the multi-modal traffic assignment resulting from a maintenance schedule. The genetic algorithm with multi-point crossover is applied to obtain a good schedule.
Based on the Braess’ paradox that removing some links may alleviate the congestion of user-optimized flows, this research generalizes the Braess’ paradox to reduce the capacity of selected links to improve the efficiency of the resultant user-optimized flows. A heuristic is developed to identify links to reduce capacity, and the corresponding capacity reduction amounts, to get more efficient total flows. Experiments on real networks demonstrate the generalized Braess’ paradox exists in reality, and the heuristic developed solves real-world test cases even when commercial solvers fail.
ContributorsPeng, Dening (Author) / Mirchandani, Pitu B. (Thesis advisor) / Sefair, Jorge (Committee member) / Wu, Teresa (Committee member) / Zhou, Xuesong (Committee member) / Arizona State University (Publisher)
Created2017
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
ContributorsSchuring, Martin (Performer) / Stromberg, Eric (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-08-19
ContributorsDe La Cruz, Nathaniel (Performer) / LoGiudice, Rosa (Contributor) / Tallino, Michael (Performer) / McKinch, Riley (Performer) / Li, Yuhui (Performer) / Armenta, Tyler (Contributor) / Gonzalez, David (Performer) / Jones, Tarin (Performer) / Ryall, Blake (Performer) / Senseman, Stephen (Performer)
Created2018-10-10
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