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- Genre: Masters Thesis
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
The past two decades have been monumental in the advancement of microchips designed for a diverse range of medical applications and bio-analysis. Owing to the remarkable progress in micro-fabrication technology, complex chemical and electro-mechanical features can now be integrated into chip-scale devices for use in biosensing and physiological measurements. Some of these devices have made enormous contributions in the study of complex biochemical processes occurring at the molecular and cellular levels while others overcame the challenges of replicating various functions of human organs as implant systems. This thesis presents test data and analysis of two such systems. First, an ISFET based pH sensor is characterized for its performance in a continuous pH monitoring application. Many of the basic properties of ISFETs including I-V characteristics, pH sensitivity and more importantly, its long term drift behavior have been investigated. A new theory based on frequent switching of electric field across the gate oxide to decrease the rate of current drift has been successfully implemented with the help of an automated data acquisition and switching system. The system was further tested for a range of duty cycles in order to accurately determine the minimum length of time required to fully reset the drift. Second, a microfluidic based vestibular implant system was tested for its underlying characteristics as a light sensor. A computer controlled tilt platform was then implemented to further test its sensitivity to inclinations and thus it‟s more important role as a tilt sensor. The sensor operates through means of optoelectronics and relies on the signals generated from photodiode arrays as a result of light being incident on them. ISFET results show a significant drop in the overall drift and good linear characteristics. The drift was seen to reset at less than an hour. The photodiodes show ideal I-V comparison between photoconductive and photovoltaic modes of operation with maximum responsivity at 400nm and a shunt resistance of 394 MΩ. Additionally, post-processing of the tilt sensor to incorporate the sensing fluids is outlined. Based on several test and fabrication results, a possible method of sealing the open cavity of the chip using a UV curable epoxy has been discussed.
ContributorsMamun, Samiha (Author) / Christen, Jennifer Blain (Thesis advisor) / Goryll, Michael (Committee member) / Yu, Hongyu (Committee member) / Arizona State University (Publisher)
Created2011
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
Description
A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece.
ContributorsJones, Zachary William (Author) / Rogers, Rodney (Thesis advisor) / Feisst, Sabine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
There is a considerable amount of research stating that vegetarian diets have an alkalizing effect while the typical western diet is acid-forming. There is substantial evidence regarding the health benefits of an alkaline diet. Although vegetarian diets demonstrate the ability to foster these health benefits, many people are still not willing to adopt a completely vegetarian diet. PURPOSE: To evaluate the effect of following a vegan diet two or three days per week on acid-base balance in a healthy college student population aged 18-30. METHODS: In a one-week interventional design, 23 people were randomly assigned to follow a vegan diet 2 days per week (VEG2;n=7), 3 days per week(VEG3;n=8), or 7 days per week (VEG7;n=8). Urine pH and dietary PRAL were assessed in each group at baseline and after the one-week intervention. RESULTS: There was no significant difference in urinary pH between the three groups (p=0.12). The change in PRAL values after the dietary intervention was different between the 3 groups (p=0.03). CONCLUSION: Adherence to a vegan diet 2 or 3 days per week did not show a significant change in urinary pH or PRAL.
ContributorsCosgrove, Kelly (Author) / Johnston, Carol (Thesis advisor) / Sweazea, Karen (Committee member) / Mayol-Kreiser, Sandra (Committee member) / Arizona State University (Publisher)
Created2015