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Description
A fundamental gap in geomorphic scholarship regards fluvial terraces in small desert drainages and those terraces associated with integrating drainages. This dissertation analyzes four field-based case studies within the Sonoran Desert, south-central Arizona, with the overriding purpose of developing a theory to explain the formative processes and spatial distribution of

A fundamental gap in geomorphic scholarship regards fluvial terraces in small desert drainages and those terraces associated with integrating drainages. This dissertation analyzes four field-based case studies within the Sonoran Desert, south-central Arizona, with the overriding purpose of developing a theory to explain the formative processes and spatial distribution of fluvial terraces in the region. Strath terraces are a common form (Chapters 2, 3, 4) and are created at the expense of bounding pediments that occur on the margins of constraining mountainous drainage boundaries (Chapters 1, 2, 3). Base-level fluctuations of the major drainages cause the formation of new straths at lower elevations. Dramatic pediment adjustment and subsequent regrading follows (Chapter 3), where pediments regrade to strath floodplains. This linkage between pediments and their distal straths is termed the pediment-strath relationship. Stability of the base level of the major drainage leads to lateral migration and straths are carved at the expense of bounding pediments through an erosional asymmetry facilitated by differential rock decay between the channel bank and bed. Fill terraces occur within the Salt River drainage basin as a result of the integration processes that connect formerly endorheic basins (Chapter 4). The topographic, spatial, and sedimentologic relationship of the Stewart Mountain terrace (Chapter 4) points to a different genetic origin than the lower terraces in this basin. The high Stewart Mountain fill terrace records the initial integration of this river. The strath terraces inset below the Stewart Mountain terrace are a result of the pediment-strath relationship. These case studies also reveal that the under-addressed drainage processes of piracy and overflow have significant impacts in the evolution of drainages the lead to both strath and fill terrace formation in this region.
ContributorsLarson, Phillip Herman (Author) / Dorn, Ron I (Thesis advisor) / Schmeeckle, Mark (Thesis advisor) / Douglass, John (Committee member) / Cerveny, Randy (Committee member) / Arizona State University (Publisher)
Created2013
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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

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
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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

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
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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

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.
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
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Description
The San Gabriel Mountains (SGM) of southern California provide the opportunity to study the topographic controls on erosion rate in a mountain range where climate and lithology are relatively constant. I use a combination of digital elevation model data, detailed channel survey data, decadal climate records, and catchment-averaged erosion rates

The San Gabriel Mountains (SGM) of southern California provide the opportunity to study the topographic controls on erosion rate in a mountain range where climate and lithology are relatively constant. I use a combination of digital elevation model data, detailed channel survey data, decadal climate records, and catchment-averaged erosion rates quantified from 10Be concentrations in stream sands to investigate the style and rates of hillslope and channel processes across the transition from soil-mantled to rocky landscapes in the SGM. Specifically, I investigate (1) the interrelations among different topographic metrics and their variation with erosion rate, (2) how hillslopes respond to tectonic forcing in "threshold" landscapes, (3) the role of discharge variability and erosion thresholds in controlling the relationship between relief and erosion rate, and (4) the style and pace of transient adjustment in the western SGM to a recent increase in uplift rate. Millennial erosion rates in the SGM range from 0.03-1.1 mm/a, generally increasing from west to east. For low erosion rates (< 0.3 mm/a), hillslopes tend to be soil-mantled, and catchment-averaged erosion rates are positively correlated with catchment-averaged slope, channel steepness, and local relief. For erosion rates greater than 0.3 mm/a, hillslopes become increasingly rocky, catchment-mean hillslope angle becomes much less sensitive to erosion rate, and channels continue to steepen. I find that a non-linear relationship observed between channel steepness and erosion rate can be explained by a simple bedrock incision model that combines a threshold for erosion with a probability distribution of discharge events where large floods follow an inverse power-law. I also find that the timing of a two-staged increase in uplift rate in the western SGM based on stream profile analysis agrees with independent estimates. Field observations in the same region suggest that the relict topography that allows for this calculation has persisted for more than 7 Ma due to the stalling of migrating knickpoints by locally stronger bedrock and a lack of coarse sediment cover.
ContributorsDibiase, Roman Alexander (Author) / Whipple, Kelin X (Thesis advisor) / Heimsath, Arjun M. (Thesis advisor) / Arrowsmith, J Ramon (Committee member) / Garnero, Edward J. (Committee member) / Hodges, Kip V. (Committee member) / Arizona State University (Publisher)
Created2011
Description
This research examines lateral separation zones and sand bar slope stability using two methods: a parallelized turbulence resolving model and full-scale laboratory experiments. Lateral flow separation occurs in rivers where banks exhibit strong curvature, for instance canyon rivers, sharp meanders and river confluences. In the Colorado River, downstream Glen Canyon

This research examines lateral separation zones and sand bar slope stability using two methods: a parallelized turbulence resolving model and full-scale laboratory experiments. Lateral flow separation occurs in rivers where banks exhibit strong curvature, for instance canyon rivers, sharp meanders and river confluences. In the Colorado River, downstream Glen Canyon Dam, lateral separation zones are the principal storage of sandbars. Maximum ramp rates have been imposed to Glen Canyon Dam operation to minimize mass loss of sandbars. Assessment of the effect of restricting maximum ramp rates in bar stability is conducted using multiple laboratory experiments. Results reveal that steep sandbar faces would rapidly erode by mass failure and seepage erosion to stable slopes, regardless of dam discharge ramp rates. Thus, continued erosion of sand bars depends primarily of turbulent flow and waves. A parallelized, three-dimensional, turbulence resolving model is developed to study flow structures in two lateral separation zones located along the Colorado River in Grand Canyon. The model employs a Detached Eddy Simulation (DES) technique where variables larger than the grid scale are fully resolved, while Sub-Grid-Scale (SGS) variables are modeled. The DES-3D model is validated using ADCP flow measurements and skill metric scores show predictive capabilities of simulated flow. The model reproduces the patterns and magnitudes of flow velocity in lateral recirculation zones, including size and position of primary and secondary eddy cells and return current. Turbulence structures with a predominately vertical axis of vorticity are observed in the shear layer, becoming three-dimensional without preferred orientation downstream. The DES-3D model is coupled with a sediment advection-diffusion formulation, wherein advection is provided by the DES velocity field minus particles settling velocity, and diffusion is provided by the SGS. Results show a lateral recirculation zone having a continuous export and import of sediment from and to the main channel following a pattern of high frequency pulsations of positive deposition fluxes. These high frequency pulsations play an important role to prevent an oversupply of sediment within the lateral separation zones. Improved predictive capabilities are achieved with this model when compared with previous two- and three-dimensional quasi steady and steady models.
ContributorsAlvarez Rueda, Laura Verónica (Author) / Schmeeckle, Mark W. (Thesis advisor) / Dorn, Ronald I. (Committee member) / Brazel, Anthony J. (Committee member) / Grams, Paul E. (Committee member) / Topping, David J. (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
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
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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

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.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016