Matching Items (11)
Description
In an interview with the composer Liu Yintong, she shared her thoughts regarding
her inspiration to compose the duet Memorial II. Liu studied under Chen Yi, who is a leading female contemporary composer. She has won many honors and awards worldwide, in addition to performing with major symphonies and musicians, including Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the British Broadcasting Company (BBC), and Los Angeles Philharmonic. Chen Yi’s Percussion Concerto combines Eastern and Western music styles and also includes Chinese poetry, and elements of Beijing opera. Similarly, Liu uses Chinese poetry and elements of Hebei opera in Memorial II. This document and recording of Memorial II will examine the musical integration of Liu’s educational and cultural experience into her composition. In addition this document will examine Hebei opera styles of singing, imitated in the cello and piano.
her inspiration to compose the duet Memorial II. Liu studied under Chen Yi, who is a leading female contemporary composer. She has won many honors and awards worldwide, in addition to performing with major symphonies and musicians, including Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the British Broadcasting Company (BBC), and Los Angeles Philharmonic. Chen Yi’s Percussion Concerto combines Eastern and Western music styles and also includes Chinese poetry, and elements of Beijing opera. Similarly, Liu uses Chinese poetry and elements of Hebei opera in Memorial II. This document and recording of Memorial II will examine the musical integration of Liu’s educational and cultural experience into her composition. In addition this document will examine Hebei opera styles of singing, imitated in the cello and piano.
ContributorsGuo, Wei (Author) / Landschoot, Tom (Thesis advisor) / Solís, Ted (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2019
Description
Unmanned aerial vehicles have received increased attention in the last decade due to their versatility, as well as the availability of inexpensive sensors (e.g. GPS, IMU) for their navigation and control. Multirotor vehicles, specifically quadrotors, have formed a fast growing field in robotics, with the range of applications spanning from surveil- lance and reconnaissance to agriculture and large area mapping. Although in most applications single quadrotors are used, there is an increasing interest in architectures controlling multiple quadrotors executing a collaborative task. This thesis introduces a new concept of control involving more than one quadrotors, according to which two quadrotors can be physically coupled in mid-flight. This concept equips the quadro- tors with new capabilities, e.g. increased payload or pursuit and capturing of other quadrotors. A comprehensive simulation of the approach is built to simulate coupled quadrotors. The dynamics and modeling of the coupled system is presented together with a discussion regarding the coupling mechanism, impact modeling and additional considerations that have been investigated. Simulation results are presented for cases of static coupling as well as enemy quadrotor pursuit and capture, together with an analysis of control methodology and gain tuning. Practical implementations are introduced as results show the feasibility of this design.
ContributorsLarsson, Daniel (Author) / Artemiadis, Panagiotis (Thesis advisor) / Marvi, Hamidreza (Committee member) / Berman, Spring (Committee member) / Arizona State University (Publisher)
Created2016
Description
This dissertation focuses on seven solo piano works written by contemporary Chinese-American composer Chen Yi. It is presented in the form of a recording project, with a written analysis of each recorded composition. The seven recorded pieces are Variations on "Awariguli", Duo Ye, Guessing, Two Chinese bagatelles: Yu Diao and Small Beijing Gong, Ba Ban, Singing in the Mountain, and Ji-Dong-Nuo. They were written between 1978 and 2005, presenting a wide range of Chen Yi's compositional style. The written portion consists of five chapters. After the introductory chapter, a sketch of Chen Yi's life is presented in Chapter Two. This chapter specifically uncovers Chen Yi's deep roots of Chinese traditional and folk music through her experiences during the Cultural Revolution. Chapter Three analyzes each of the seven pieces. Through formal structure realization, motivic analysis, and folk music implication, the author discovers the blend of Chinese and Western cultures throughout Chen Yi's music. Chapter Four discusses the performance aspect of these compositions through the author's recording experience. In this chapter, the author provides background information as well as suggestions on specific performance practice. The last chapter summarizes the entire dissertation.
ContributorsFeeken, Qing Nadia (Author) / Meir, Baruch (Thesis advisor) / Carpenter, Ellon (Committee member) / Cosand, Walter (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.
ContributorsWu, Xuelai (Author) / Campbell, Andrew (Thesis advisor) / DeMars, James (Committee member) / Landschoot, Thomas (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017
Description
There has been a vast increase in applications of Unmanned Aerial Vehicles (UAVs) in civilian domains. To operate in the civilian airspace, a UAV must be able to sense and avoid both static and moving obstacles for flight safety. While indoor and low-altitude environments are mainly occupied by static obstacles, risks in space of higher altitude primarily come from moving obstacles such as other aircraft or flying vehicles in the airspace. Therefore, the ability to avoid moving obstacles becomes a necessity
for Unmanned Aerial Vehicles.
Towards enabling a UAV to autonomously sense and avoid moving obstacles, this thesis makes the following contributions. Initially, an image-based reactive motion planner is developed for a quadrotor to avoid a fast approaching obstacle. Furthermore, A Dubin’s curve based geometry method is developed as a global path planner for a fixed-wing UAV to avoid collisions with aircraft. The image-based method is unable to produce an optimal path and the geometry method uses a simplified UAV model. To compensate
these two disadvantages, a series of algorithms built upon the Closed-Loop Rapid Exploratory Random Tree are developed as global path planners to generate collision avoidance paths in real time. The algorithms are validated in Software-In-the-Loop (SITL) and Hardware-In-the-Loop (HIL) simulations using a fixed-wing UAV model and in real flight experiments using quadrotors. It is observed that the algorithm enables a UAV to avoid moving obstacles approaching to it with different directions and speeds.
for Unmanned Aerial Vehicles.
Towards enabling a UAV to autonomously sense and avoid moving obstacles, this thesis makes the following contributions. Initially, an image-based reactive motion planner is developed for a quadrotor to avoid a fast approaching obstacle. Furthermore, A Dubin’s curve based geometry method is developed as a global path planner for a fixed-wing UAV to avoid collisions with aircraft. The image-based method is unable to produce an optimal path and the geometry method uses a simplified UAV model. To compensate
these two disadvantages, a series of algorithms built upon the Closed-Loop Rapid Exploratory Random Tree are developed as global path planners to generate collision avoidance paths in real time. The algorithms are validated in Software-In-the-Loop (SITL) and Hardware-In-the-Loop (HIL) simulations using a fixed-wing UAV model and in real flight experiments using quadrotors. It is observed that the algorithm enables a UAV to avoid moving obstacles approaching to it with different directions and speeds.
ContributorsLin, Yucong (Author) / Saripalli, Srikanth (Thesis advisor) / Scowen, Paul (Committee member) / Fainekos, Georgios (Committee member) / Thangavelautham, Jekanthan (Committee member) / Youngbull, Cody (Committee member) / Arizona State University (Publisher)
Created2015
Description
In an interview with the author, composer Chen Yi shared thoughts regarding her inspiration to compose the piece As in a Dream. She composed the first version in 1988 for soprano, violin, and cello. Left unpublished, this work was re-done in 1994 with the Chinese instruments zheng and pipa in place of the violin and cello. As in a Dream is a setting of two linked poems of six lines each by Qingzhao Li, one of the earliest female poets in China. Chen Yi kept the voice part the same in the two versions, but adapted the accompaniment to suit the Chinese instruments.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese.
Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry.
ContributorsIp, Hoi Lam (Author) / Britton, David (Thesis advisor) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
This project serves as a performance guide for Chen Yi’s work From Old Peking Folklore for violin and piano. The primary source material for the document is derived from six hours of interviews and musical coaching that the writer undertook in March 2020 with Chen Yi at her residence in Missouri. The work is heavily influenced by Chinese Opera, and a brief examination of the history of Chinese Opera is included to provide context to the performer. Elements of performance practice on traditional Chinese instruments and their influence on the work are also explored, with detailed explanations given for the realization of numerous indications in the score from the composer. Finally, a link to a lecture recital and performance of the work is provided by the writer.
ContributorsDu, Pan (Author) / McLin, Katherine E (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020
Description
This lecture recital was an hour-long event held in Recital Concert Hall at ASU School of Music on Sunday, March 20th, 2022 at 12:00 PM. The lecture recital a hybrid of a lecture and a musical performance. The musical performance, under the guidance of pianist Dr. Robert Hamilton, was a live piano performance of the pieces "Northern Scenes" written by Chen Yi, and "Secret & Glass Gardens" written by Jennifer Higdon. The lecture portion, under the guidance of music theorist Dr. Nicholas Shea, covers a biography of the composers, followed by a generalized formal analysis and description of musical themes and motives that are within the scope of their respective pieces. The overall product for audience members is to get an introduction to living female composers, Chen Yi and Jennifer Higdon, as well as develop a general understanding of their compositional techniques and influences. The audience is also informed of 'what to listen for' by discussing the overall structure and formal analysis of each piece before hearing it played live. This is necessary given the context that these compositions have been written within the past two decades, it is very helpful to know what will happen so that listeners have an easier time following along to this very new music.
ContributorsCore, Sarah (Author) / Hamilton, Robert (Thesis director) / Shea, Nicholas (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2022-05
ContributorsCore, Sarah (Author) / Hamilton, Robert (Thesis director) / Shea, Nicholas (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2022-05
ContributorsCore, Sarah (Author) / Hamilton, Robert (Thesis director) / Shea, Nicholas (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2022-05