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- Genre: Academic theses
- Creators: Bakkaloglu, Bertan
- Creators: Davulcu, Hasan
- Creators: Ryan, Russell
- Member of: Theses and Dissertations
Description
Nineteenth-century French organ builder Aristide Cavaillé-Coll and organist-composer César Franck established a foundation for the revival of organ music in France. Following the French Revolution, organ culture had degenerated because of the instrument's association with the church. Beginning with his instrument at St. Dénis, Cavaillé-Coll created a new symphonic organ that made it possible for composers to write organ music in the new Romantic aesthetic. In 1859, Franck received a new Cavaillé-Coll organ at the Parisian church where he served as organist, Sainte-Clotilde. He began experimenting with the innovations of this instrument: an expressive division, mechanical assists, new types of tone color, and an expanded pedal division. From about 1860, Franck began composing his first pieces for the Cavaillé-Coll organ; these were published in 1868 as the Six Pièces. With these compositions, Franck led the way in adapting the resources of the French symphonic organ to Romantic music. In this paper, I provide an analysis of the structure of each of the Six Pièces as a foundation for exploring ways in which Franck exploited the new features of his Cavaillé-Coll organ. I have made sound recordings to demonstrate specific examples of how the music fits the organ. Thanks to Cavaillé-Coll's innovations in organ building, Franck was able to write large-scale, multi-thematic works with the sonorous resources necessary to render them convincingly. The Six Pièces reveal a strong creative exchange between organist and organ builder, and they portend many of the subsequent developments of the French symphonic organ school.
ContributorsSung, Anna (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Pagano, Caio (Committee member) / Arizona State University (Publisher)
Created2012
Description
Impedance is one of the fundamental properties of electrical components, materials, and waves. Therefore, impedance measurement and monitoring have a wide range of applications. The multi-port technique is a natural candidate for impedance measurement and monitoring due to its low overhead and ease of implementation for Built-in Self-Test (BIST) applications. The multi-port technique can measure complex reflection coefficients, thus impedance, by using scalar measurements provided by the power detectors. These power detectors are strategically placed on different points (ports) of a passive network to produce unique solution. Impedance measurement and monitoring is readily deployed on mobile phone radio-frequency (RF) front ends, and are combined with antenna tuners to boost the signal reception capabilities of phones. These sensors also can be used in self-healing circuits to improve their yield and performance under process, voltage, and temperature variations. Even though, this work is preliminary interested in low-overhead impedance measurement for RF circuit applications, the proposed methods can be used in a wide variety of metrology applications where impedance measurements are already used. Some examples of these applications include determining material properties, plasma generation, and moisture detection. Additionally, multi-port applications extend beyond the impedance measurement. There are applications where multi-ports are used as receivers for communication systems, RADARs, and remote sensing applications. The multi-port technique generally requires a careful design of the testing structure to produce a unique solution from power detector measurements. It also requires the use of nonlinear solvers during calibration, and depending on calibration procedure, measurement. The use of nonlinear solvers generates issues for convergence, computational complexity, and resources needed for carrying out calibrations and measurements in a timely manner. In this work, using periodic structures, a structure where a circuit block repeats itself, for multi-port measurements is proposed. The periodic structures introduce a new constraint that simplifies the multi-port theory and leads to an explicit calibration and measurement procedure. Unlike the existing calibration procedures which require at least five loads and various constraints on the load for explicit solution, the proposed method can use three loads for calibration. Multi-ports built with periodic structures will always produce a unique measurement result. This leads to increased bandwidth of operation and simplifies design procedure. The efficacy of the method demonstrated in two embodiments.
In the first embodiment, a multi-port is directly embedded into a matching network to measure impedance of the load.
In the second embodiment, periodic structures are used to compare two loads without requiring any calibration.
ContributorsAvci, Muslum Emir (Author) / Ozev, Sule (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Kitchen, Jennifer (Committee member) / Trichopoulos, Georgios (Committee member) / Arizona State University (Publisher)
Created2023
Description
This work presents two balanced power amplifier (PA) architectures, one at X-band and the other at K-band. The presented balanced PAs are designed for use in small satellite and cube satellite applications.The presented X-band PA employs wideband hybrid couplers to split input power to two commercial off-the-shelf (COTS) Gallium Nitride (GaN) monolithic microwave integrated circuit (MMIC) PAs and combine their output powers. The presented X-band balanced PA manufactured on a Rogers 4003C substrate yields increased small signal gain and saturated output power under continuous wave (CW) operation compared to the single MMIC PA used in the design under pulsed operation. The presented PA operates from 7.5 GHz to 11.5 GHz, has a maximum small signal gain of 36.3 dB, a maximum saturated power out of 40.0 dBm, and a maximum power added efficiency (PAE) of 38%.
Both a Wilkinson and a Gysel splitter and combiner are designed for use at K-band and their performance is compared. The presented K-band balanced PA uses Gysel power dividers and combiners with a GaN MMIC PA that is soon to be released in production.
ContributorsPearson, Katherine Elizabeth (Author) / Kitchen, Jennifer (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Ozev, Sule (Committee member) / Arizona State University (Publisher)
Created2023
Description
The concert vocalise, a dazzling wordless vocal etude intended for performance, is largely a phenomenon of the twentieth century. Made famous by composers such as Sergei Rachmaninoff and Maurice Ravel, the concert vocalise is generally a short, non-programmatic work with a relatively simple form. In contrast, Nikolai Medtner’s two monumental Op. 41 vocalises, the Sonata-Vocalise mit einem Motto “Geweihter Platz and the Suite Vocalise, are staggering in their length and formal complexity. They are also programmatically conceived, sharing the Goethe poem “Geweihter Platz” as their inspiration.
The innovation of adding a textual element to a traditionally textless genre introduces a tantalizing new layer of complexity that demands further research and exploration. However, as with any innovation, it also offers new challenges to performers wishing to program either or both works. Current scholarship has yet to offer any kind of in-depth analysis of either work, leaving questions as to the structural and motivic elements which bind these large works together, not to mention questions related to exactly how Medtner addresses the challenge of linking specific parts of Goethe’s text to the textless portions of music. Furthermore, neither work is considered standard repertoire, and recordings and performances are limited, leaving aspiring performers in something of an informational desert.
In this paper, I endeavor to fill this informational gap for performers and scholars alike by providing them with a brief biography of Medtner, an outline of the development of the concert vocalise genre, and the background of the Goethe poem that inspired Medtner. Then my in-depth analyses reveal underlying structural, motivic, and programmatic links both within and between the works. Finally, my performer’s guide, based on the analyses and my experience performing both works, offers suggestions regarding the interpretational, ensemble, and technical challenges presented by these great works.
The innovation of adding a textual element to a traditionally textless genre introduces a tantalizing new layer of complexity that demands further research and exploration. However, as with any innovation, it also offers new challenges to performers wishing to program either or both works. Current scholarship has yet to offer any kind of in-depth analysis of either work, leaving questions as to the structural and motivic elements which bind these large works together, not to mention questions related to exactly how Medtner addresses the challenge of linking specific parts of Goethe’s text to the textless portions of music. Furthermore, neither work is considered standard repertoire, and recordings and performances are limited, leaving aspiring performers in something of an informational desert.
In this paper, I endeavor to fill this informational gap for performers and scholars alike by providing them with a brief biography of Medtner, an outline of the development of the concert vocalise genre, and the background of the Goethe poem that inspired Medtner. Then my in-depth analyses reveal underlying structural, motivic, and programmatic links both within and between the works. Finally, my performer’s guide, based on the analyses and my experience performing both works, offers suggestions regarding the interpretational, ensemble, and technical challenges presented by these great works.
ContributorsUhl, Nathan Leonard (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Thesis advisor) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017
Description
The pipe organ, a musical instrument historically, culturally, and conceptually associated with Christian worship, is being negatively affected in terms of condition and continued use in the United States by rising rates of secularity, declining mainline Protestant and Catholic adherents, declining worship attendance, and, most directly, the closure of church buildings. No scholarly research addresses the relationship of secularization and the organ, and no professionals in the field acknowledge its seriousness or have presented plans to counter it.
This paper lays the groundwork for future research while exploring the landscape of the organ’s possible secular uses. The organ’s relationship to secularization is defined through the interdisciplinary lens of secular studies, bolstered through an exploration of its past. This thesis analyzes the use of the organ in secularized churches in the United States through case studies of fourteen organs in thirteen former churches. While these examples reveal some promising adaptive reuses of church buildings and their organs, the prevailing conclusion is that the instrument’s future is severely endangered. There are few paid secular positions and insignificant educational opportunities that stem from secularized churches. The public lacks exposure to the instrument because of the infrequency of organ-related events.
Yet because the organ’s principal aesthetic is not Christian but communal, the instrument has the potential to thrive in secular contexts. This reframing and often literal repositioning requires stronger leadership: organizations and individuals promoting the organ must be proactive in working with the new owners of secularized churches to help them incorporate the instrument in new, revitalized contexts. A dynamic future for the organ requires the creative work of many.
This paper lays the groundwork for future research while exploring the landscape of the organ’s possible secular uses. The organ’s relationship to secularization is defined through the interdisciplinary lens of secular studies, bolstered through an exploration of its past. This thesis analyzes the use of the organ in secularized churches in the United States through case studies of fourteen organs in thirteen former churches. While these examples reveal some promising adaptive reuses of church buildings and their organs, the prevailing conclusion is that the instrument’s future is severely endangered. There are few paid secular positions and insignificant educational opportunities that stem from secularized churches. The public lacks exposure to the instrument because of the infrequency of organ-related events.
Yet because the organ’s principal aesthetic is not Christian but communal, the instrument has the potential to thrive in secular contexts. This reframing and often literal repositioning requires stronger leadership: organizations and individuals promoting the organ must be proactive in working with the new owners of secularized churches to help them incorporate the instrument in new, revitalized contexts. A dynamic future for the organ requires the creative work of many.
ContributorsMeszler, Alexander Francis (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Schmelz, Peter (Committee member) / Arizona State University (Publisher)
Created2020
Description
Social media platforms provide a rich environment for analyzing user behavior. Recently, deep learning-based methods have been a mainstream approach for social media analysis models involving complex patterns. However, these methods are susceptible to biases in the training data, such as participation inequality. Basically, a mere 1% of users generate the majority of the content on social networking sites, while the remaining users, though engaged to varying degrees, tend to be less active in content creation and largely silent. These silent users consume and listen to information that is propagated on the platform.However, their voice, attitude, and interests are not reflected in the online content, making the decision of the current methods predisposed towards the opinion of the active users. So models can mistake the loudest users for the majority. To make the silent majority heard is to reveal the true landscape of the platform. In this dissertation, to compensate for this bias in the data, which is related to user-level data scarcity, I introduce three pieces of research work. Two of these proposed solutions deal with the data on hand while the other tries to augment the current data. Specifically, the first proposed approach modifies the weight of users' activity/interaction in the input space, while the second approach involves re-weighting the loss based on the users' activity levels during the downstream task training. Lastly, the third approach uses large language models (LLMs) and learns the user's writing behavior to expand the current data. In other words, by utilizing LLMs as a sophisticated knowledge base, this method aims to augment the silent user's data.
ContributorsKarami, Mansooreh (Author) / Liu, Huan (Thesis advisor) / Sen, Arunabha (Committee member) / Davulcu, Hasan (Committee member) / Mancenido, Michelle V. (Committee member) / Arizona State University (Publisher)
Created2023
Description
Lu Pei (b. 1956) is a celebrated Chinese American composer who currently serves as a composition professor at the Shanghai Conservatory of Music. His work is known for its varied use of Chinese folk tunes. He lived in the United States a long time, which cultivated within him abundant Western musical influences. The sound of multi-ethnic elements is greatly reflected in his own music. Writing an opera has always been his ultimate dream as a composer, and after many years of work, the opera The Third of March was completed and premiered in 2018 in Guangxi. It has received wide acclaim and has been a favorite of younger listeners. Lu Pei aims to bring young people to modern music and the Chinese opera, not only using traditional Chinese musical elements, but also adopts “reinvented” modern Western musical styles, giving a new identity to the Chinese opera is the main foci of The Third of March.
To prepare for my performer’s guide to The Third of March, I will discuss Lu Pei’s inspirations from the Guangxi Song Fairs, and the music and culture of the Zhuang people surrounding the date in the Chinese lunar calendar, March Third. For Westerners unfamiliar with Lu Pei’s music, I will briefly introduce the compositional blending of Western and Chinese musical styles with a section about Chinese composers active in the United States, Chen Yi (b. 1953), and Tan Dun (b. 1957). I will also include a brief outline of the history of Chinese opera development, and Lu Pei’s compositional concepts and the background of the opera The Third of March will be discussed.
My performer’s guide, the primary focus of this project, will begin by stressing Lu Pei’s adoption of different Chinese folk songs and Western compositional elements. These techniques clearly gave the piece a unique stylistic identity. I will give a brief overview of the Chinese language diction in International Phonetic Alphabet. Finally, the qualities of the main arias in the opera, and some of the Chinese operatic techniques for singers, and their special effects, will be explored.
To prepare for my performer’s guide to The Third of March, I will discuss Lu Pei’s inspirations from the Guangxi Song Fairs, and the music and culture of the Zhuang people surrounding the date in the Chinese lunar calendar, March Third. For Westerners unfamiliar with Lu Pei’s music, I will briefly introduce the compositional blending of Western and Chinese musical styles with a section about Chinese composers active in the United States, Chen Yi (b. 1953), and Tan Dun (b. 1957). I will also include a brief outline of the history of Chinese opera development, and Lu Pei’s compositional concepts and the background of the opera The Third of March will be discussed.
My performer’s guide, the primary focus of this project, will begin by stressing Lu Pei’s adoption of different Chinese folk songs and Western compositional elements. These techniques clearly gave the piece a unique stylistic identity. I will give a brief overview of the Chinese language diction in International Phonetic Alphabet. Finally, the qualities of the main arias in the opera, and some of the Chinese operatic techniques for singers, and their special effects, will be explored.
ContributorsBan, Banlingyu (Author) / FitzPatrick, Carole (Thesis advisor) / Norton, Kay (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020
Description
ABSTRACT
Emilie Mayer (1812-1883) was a prolific composer whose musical works, which encompassed eight symphonies, four overtures, an opera, dozens of sonatas, eight string quartets, solo piano works, and nearly 130 songs for solo voice or vocal quartet, were performed in the foremost concert halls in Berlin and across Germany. She studied with lauded teachers: Carl Loewe (1796-1869), Adolph Bernhard Marx (1795-1866), and Wilhelm Wieprecht (1802-1872). Her talent was applauded by audiences and critics wrote favorably, despite their reservations about women composers. However, even with this unusual pedigree, Mayer’s works nearly disappeared from concert stages after her death. How did this happen? This study aims to answer this question and will delve into Emilie Mayer’s life and works in context with the prejudices against female composers at the time, in order to determine how those biases have shaped the classical canon. Included is an in-depth stylistic analysis of Mayer’s surviving seven Lieder, along-side comparisons to similar works of other composers. In addition, appendices present Mayer’s remaining Lieder in a new, modernized edition, with selected songs transposed for better accessibility for lower voices. Relative lack of female representation in modern-day concert halls and music history books correlates to previous misconceptions of female composers. Studying the works of Emilie Mayer will support her addition to the classical repertoire, help correct the male-gendered canon that persists, and help modern female composers realize their history is not confined to a footnote.
Emilie Mayer (1812-1883) was a prolific composer whose musical works, which encompassed eight symphonies, four overtures, an opera, dozens of sonatas, eight string quartets, solo piano works, and nearly 130 songs for solo voice or vocal quartet, were performed in the foremost concert halls in Berlin and across Germany. She studied with lauded teachers: Carl Loewe (1796-1869), Adolph Bernhard Marx (1795-1866), and Wilhelm Wieprecht (1802-1872). Her talent was applauded by audiences and critics wrote favorably, despite their reservations about women composers. However, even with this unusual pedigree, Mayer’s works nearly disappeared from concert stages after her death. How did this happen? This study aims to answer this question and will delve into Emilie Mayer’s life and works in context with the prejudices against female composers at the time, in order to determine how those biases have shaped the classical canon. Included is an in-depth stylistic analysis of Mayer’s surviving seven Lieder, along-side comparisons to similar works of other composers. In addition, appendices present Mayer’s remaining Lieder in a new, modernized edition, with selected songs transposed for better accessibility for lower voices. Relative lack of female representation in modern-day concert halls and music history books correlates to previous misconceptions of female composers. Studying the works of Emilie Mayer will support her addition to the classical repertoire, help correct the male-gendered canon that persists, and help modern female composers realize their history is not confined to a footnote.
ContributorsSadownik, Stephanie Beth (Author) / Weiss, Stephanie (Thesis advisor) / Norton, Kay (Thesis advisor) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020
Description
ABSTRACT
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
ContributorsLoGiudice, Rosa Mia (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020
Description
Recent advancements in communication standards, such as 5G demand transmitter hardware to support high data rates with high energy efficiency. With the revolution of communication standards, modulation schemes have become more complex and require high peak-to-average (PAPR) signals. In wireless transceiver hardware, the power amplifier (PA) consumes most of the transceiver’s DC power and is typically the bottleneck for transmitter linearity. Therefore, the transmitter’s performance directly depends on the PA. To support high PAPR signals, the PA must operate efficiently at its saturated and backoff output power. Maintaining high efficiency at both peak and backoff output power is challenging. One effective technique for addressing this problem is load modulation. Some of the prominent load-modulated PA architectures are outphasing PAs, load-modulated balanced amplifiers (LMBA), envelope elimination and restoration (EER), envelope tracking (ET), Doherty power amplifiers (DPA), and polar transmitters. Amongst them, the DPA is the most popular for infrastructure applications due to its simpler architecture compared to other techniques and linearizability with digital pre-distortion (DPD). Another crucial characteristic of progressing communication standards is wide signal bandwidths. High-efficiency power amplifiers like class J/F/F-1 and load-modulated PAs like the DPA exhibit narrowband performance because the amplifiers require precise output impedance terminations. Therefore, it is equally essential to develop adaptable PA solutions to process radio frequency (RF) signals with wide bandwidths. To support modern and future cellular infrastructure, RF PAs need to be innovated to increase the backoff power efficiency by two times or more and support ten times or more wider bandwidths than current state-of-the-art PAs. This work presents five RF PA analyses and implementations to support future wireless communications transmitter hardware. Chapter 2 presents an optimized output-matching network analysis and design to achieve extended output power backoff of the DPA. Chapters 3 and 4 unveil two bandwidth enhancement techniques for the DPA while maintaining extended output power backoff. Chapter 5 exhibits a dual-band hybrid mode PA design targeted for wideband applications. Chapter 6 presents a built-in self-test circuit integrated into a PA for output impedance monitoring. This can alleviate the PA performance degradation due to the variation in the PA's output load over frequency, process, and aging. All RF PAs in this dissertation are implemented using Gallium Nitride (GaN)-based high electron mobility transistors (HEMT), and the realized designs validate the proposed PAs' theories/architectures.
ContributorsRoychowdhury, Debatrayee (Author) / Kitchen, Jennifer (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Ozev, Sule (Committee member) / Aberle, James (Committee member) / Arizona State University (Publisher)
Created2024