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- Genre: Academic theses
- Creators: Rogers, Rodney
- Member of: Theses and Dissertations
Description
A systematic approach to composition has been used by a variety of composers to control an assortment of musical elements in their pieces. This paper begins with a brief survey of some of the important systematic approaches that composers have employed in their compositions, devoting particular attention to Pierre Boulez's Structures Ia . The purpose of this survey is to examine several systematic approaches to composition by prominent composers and their philosophy in adopting this type of approach. The next section of the paper introduces my own systematic approach to composition: the Take-Away System. The third provides several musical applications of the system, citing my work, Octulus for two pianos, as an example. The appendix details theorems and observations within the system for further study.
ContributorsHarbin, Doug (Author) / Hackbarth, Glenn (Thesis advisor) / DeMars, James (Committee member) / Etezady, Roshanne, 1973- (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
Description
Advanced composites are being widely used in aerospace applications due to their high stiffness, strength and energy absorption capabilities. However, the assurance of structural reliability is a critical issue because a damage event will compromise the integrity of composite structures and lead to ultimate failure. In this dissertation a novel homogenization based multiscale modeling framework using semi-analytical micromechanics is presented to simulate the response of textile composites. The novelty of this approach lies in the three scale homogenization/localization framework bridging between the constituent (micro), the fiber tow scale (meso), weave scale (macro), and the global response. The multiscale framework, named Multiscale Generalized Method of Cells (MSGMC), continuously bridges between the micro to the global scale as opposed to approaches that are top-down and bottom-up. This framework is fully generalized and capable of modeling several different weave and braids without reformulation. Particular emphasis in this dissertation is placed on modeling the nonlinearity and failure of both polymer matrix and ceramic matrix composites.
ContributorsLiu, Guang (Author) / Chattopadhyay, Aditi (Thesis advisor) / Mignolet, Marc (Committee member) / Jiang, Hanqing (Committee member) / Li, Jian (Committee member) / Rajadas, John (Committee member) / Arizona State University (Publisher)
Created2011
Description
This thesis investigated two different thermal flow sensors for intravascular shear stress analysis. They were based on heat transfer principle, which heat convection from the resistively heated element to the flowing fluid was measured as a function of the changes in voltage. For both sensors, the resistively heated elements were made of Ti/Pt strips with the thickness 0.12 µm and 0.02 µm. The resistance of the sensing element was measured at approximately 1.6-1.7 kohms;. A linear relation between the resistance and temperature was established over the temperature ranging from 22 degree Celsius to 80 degree Celsius and the temperature coefficient of resistance (TCR) was at approximately 0.12 %/degree Celsius. The first thermal flow sensor was one-dimensional (1-D) flexible shear stress sensor. The structure was sensing element sandwiched by a biocompatible polymer "poly-para-xylylene", also known as Parylene, which provided both insulation of electrodes and flexibility of the sensors. A constant-temperature (CT) circuit was designed as the read out circuit based on 0.6 µm CMOS (Complementary metal-oxide-semiconductor) process. The 1-D shear stress sensor suffered from a large measurement error. Because when the sensor was inserted into blood vessels, it was impossible to mount the sensor to the wall as calibrated in micro fluidic channels. According to the previous simulation work, the shear stress was varying and the sensor itself changed the shear stress distribution. We proposed a three-dimensional (3-D) thermal flow sensor, with three-axis of sensing elements integrated in one sensor. It was in the similar shape as a hexagonal prism with diagonal of 1000 µm. On the top of the sensor, there were five bond pads for external wires over 500 µm thick silicon substrate. In each nonadjacent side surface, there was a bended parylene branch with one sensing element. Based on the unique 3-D structure, the sensor was able to obtain data along three axes. With computational fluid dynamics (CFD) model, it is possible to locate the sensor in the blood vessels and give us a better understanding of shear stress distribution in the presence of time-varying component of blood flow and realize more accurate assessment of intravascular convective heat transfer.
ContributorsTang, Rui (Author) / Yu, Hongyu (Thesis advisor) / Jiang, Hanqing (Committee member) / Pan, George (Committee member) / Arizona State University (Publisher)
Created2011
Description
During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America.
ContributorsOcampo Cardona, Javier Andrés (Author) / McAllister, Timothy (Thesis advisor) / Spring, Robert (Committee member) / Hill, Gary (Committee member) / Pilafian, Sam (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
Description
Many of the works of Dominick Argento have been researched and analyzed, but his choral work Evensong: Of Love and Angels s has received limited attention thus far. Written in memoriam for his wife Carolyn Bailey Argento, Evensong draws its musical material from her initials C.B.A. These letters, translated into note names, form a conspicuous head motive that is present in each movement of the work, and it serves multiple functions: as a melodic feature, as the foundation for a twelve-tone row, and as a harmonic base. This paper provides an overview of the work's conception with specific relation to Argento's biographical details, compositional style, and work habits; a brief review of the critical reception of the work; and a succinct analysis of the form and cyclical materials found in each movement.
ContributorsPage, Carrie Leigh, 1980- (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
Everyday Arias for soprano and orchestra was composed largely in Arizona and completed in February 2011. The text was taken from a small collection of the composer's own poetry referencing her memories of life in rural Mississippi. Everyday Arias endeavors to elevate these prosaic experiences and settings to art, expressing the everyday as beautiful and worthy of artistic treatment. The primary compositional model for this work was Samuel Barber's Knoxville: Summer of 1915, but other influences included Charles Ives, Aaron Copland, Benjamin Britten, and Dominick Argento. Barber's and Argento's musical treatment of prose style seemed particularly appropriate to the goals of Everyday Arias. Ives and Copland used hymn tunes both to evoke certain associations of worship and as sources of interesting material. The vocal writing of all five composers was influential, but the orchestration techniques for winds are largely a product of studying Ives and Argento, while many string gestures are more obviously tied to Britten and - more historically - Debussy.The primary motive that weaves through the work features an ascending major second followed by a descending perfect fourth, in a long-short-long rhythmic pattern. As a melodic fragment, the motive is often inverted to a descending-ascending pattern, or distorted slightly by expanding the second interval to a perfect fifth, or used in retrograde. The motive was derived from the first measure of the melody "Toplady" (1830) by Thomas Hastings, better known as the hymn "Rock of Ages." In the first movement, the motive is used most frequently in sequences. The second movement treats the motive as a melodic element and as a unit in ostinati. The final movement humorously transforms it into a syncopated gesture to evoke ragtime.
ContributorsPage, Carrie Leigh (Composer) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2011
Description
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (Committee member) / Arizona State University (Publisher)
Created2011
Description
The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
Description
Women's contributions to the history of Canadian music can be traced back to the late nineteenth century. However, women's achievements then, and still somewhat now, are often overlooked and as a result, piano solo works by Canadian women composers are largely unknown. The purpose of this study is to promote the wealth of solo piano repertoire composed by Canadian women, and to report the results in an accessible and comprehensible format for students, teachers, and performers at all levels. The research focuses on the most recent piano music by female composers born in or after 1950 whose compositions are available through the Canadian Music Centre (CMC) library. Brief biographies of included composers note their accomplishments, compositional output, and style characteristics. Annotations for the 103 works studied, written by twenty-six composers, include information about harmonic schemes, meters, tempos, durations, dates of the composition, CMC call number, level of difficulty, commissions, musical excerpts, premieres, and style characteristics. The style characteristics section includes composer's notes, technical challenges, musical characteristics, pedagogical values, and other pertinent information about a given piece. Since the goal of this project is to stimulate the awareness of music composed by Canadian women in a truly global sense, the research paper is supplemented by a website--www.canadianwomencomposers.com--that contains all the information found in the written portion of the annotations. This website also offers short audio samples of the compositions. The writer wishes to encourage all students, performers, and teachers to explore this resource, which reveals the richness of solo piano repertoire written by Canadian women composers.
ContributorsKim, Joo Yeon Tarina (Author) / Meyer Thompson, Janice (Thesis advisor) / Cosand, Walter (Committee member) / Hamilton, Robert (Committee member) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
Description
Increasing demand for high strength powder metallurgy (PM) steels has resulted in the development of dual phase PM steels. In this work, the effects of thermal aging on the microstructure and mechanical behavior of dual phase precipitation hardened powder metallurgy (PM) stainless steels of varying ferrite-martensite content were examined. Quantitative analyses of the inherent porosity and phase fractions were conducted on the steels and no significant differences were noted with respect to aging temperature. Tensile strength, yield strength, and elongation to fracture all increased with increasing aging temperature reaching maxima at 538oC in most cases. Increased strength and decreased ductility were observed in steels of higher martensite content. Nanoindentation of the individual microconstituents was employed to obtain a fundamental understanding of the strengthening contributions. Both the ferrite and martensite hardness values increased with aging temperature and exhibited similar maxima to the bulk tensile properties. Due to the complex non-uniform stresses and strains associated with conventional nanoindentation, micropillar compression has become an attractive method to probe local mechanical behavior while limiting strain gradients and contributions from surrounding features. In this study, micropillars of ferrite and martensite were fabricated by focused ion beam (FIB) milling of dual phase precipitation hardened powder metallurgy (PM) stainless steels. Compression testing was conducted using a nanoindenter equipped with a flat punch indenter. The stress-strain curves of the individual microconstituents were calculated from the load-displacement curves less the extraneous displacements of the system. Using a rule of mixtures approach in conjunction with porosity corrections, the mechanical properties of ferrite and martensite were combined for comparison to tensile tests of the bulk material, and reasonable agreement was found for the ultimate tensile strength. Micropillar compression experiments of both as sintered and thermally aged material allowed for investigation of the effect of thermal aging.
ContributorsStewart, Jennifer (Author) / Chawla, Nikhilesh (Thesis advisor) / Jiang, Hanqing (Committee member) / Krause, Stephen (Committee member) / Arizona State University (Publisher)
Created2011