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- Genre: Doctoral Dissertation
- Creators: Campbell, Andrew
Description
Recently, the use of zinc oxide (ZnO) nanowires as an interphase in composite materials has been demonstrated to increase the interfacial shear strength between carbon fiber and an epoxy matrix. In this research work, the strong adhesion between ZnO and carbon fiber is investigated to elucidate the interactions at the interface that result in high interfacial strength. First, molecular dynamics (MD) simulations are performed to calculate the adhesive energy between bare carbon and ZnO. Since the carbon fiber surface has oxygen functional groups, these were modeled and MD simulations showed the preference of ketones to strongly interact with ZnO, however, this was not observed in the case of hydroxyls and carboxylic acid. It was also found that the ketone molecules ability to change orientation facilitated the interactions with the ZnO surface. Experimentally, the atomic force microscope (AFM) was used to measure the adhesive energy between ZnO and carbon through a liftoff test by employing highly oriented pyrolytic graphite (HOPG) substrate and a ZnO covered AFM tip. Oxygen functionalization of the HOPG surface shows the increase of adhesive energy. Additionally, the surface of ZnO was modified to hold a negative charge, which demonstrated an increase in the adhesive energy. This increase in adhesion resulted from increased induction forces given the relatively high polarizability of HOPG and the preservation of the charge on ZnO surface. It was found that the additional negative charge can be preserved on the ZnO surface because there is an energy barrier since carbon and ZnO form a Schottky contact. Other materials with the same ionic properties of ZnO but with higher polarizability also demonstrated good adhesion to carbon. This result substantiates that their induced interaction can be facilitated not only by the polarizability of carbon but by any of the materials at the interface. The versatility to modify the magnitude of the induced interaction between carbon and an ionic material provides a new route to create interfaces with controlled interfacial strength.
ContributorsGalan Vera, Magdian Ulises (Author) / Sodano, Henry A (Thesis advisor) / Jiang, Hanqing (Committee member) / Solanki, Kiran (Committee member) / Oswald, Jay (Committee member) / Speyer, Gil (Committee member) / Arizona State University (Publisher)
Created2013
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
ABSTRACT Musicians endure injuries at an alarming rate, largely due to the misuse of their bodies. Musicians move their bodies for a living and therefore should understand how to move them in a healthy way. This paper presents Body Mapping as an injury prevention technique specifically directed toward collaborative pianists. A body map is the self-representation in one's brain that includes information on the structure, function, and size of one's body; Body Mapping is the process of refining one's body map to produce coordinated movement. In addition to preventing injury, Body Mapping provides a means to achieve greater musical artistry through the training of movement, attention, and the senses. With the main function of collaborating with one or more musical partners, a collaborative pianist will have the opportunity to share the knowledge of Body Mapping with many fellow musicians. This study demonstrates the author's credentials as a Body Mapping instructor, the current status of the field of collaborative piano, and the recommendation for increased body awareness. Information on the nature and abundance of injuries and Body Mapping concepts are also analyzed. The study culminates in a course syllabus entitled An Introduction to Collaborative Piano and Body Mapping with the objective of imparting fundamental collaborative piano skills integrated with proper body use. The author hopes to inform educators of the benefits of prioritizing health among their students and to provide a Body Mapping foundation upon which their students can build technique.
ContributorsBindel, Jennifer (Author) / Campbell, Andrew (Thesis advisor) / Doan, Jerry (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
ContributorsAmes, Elizabeth (Pianist) (Author) / Ryan, Russell (Thesis advisor) / Levy, Benjamin (Committee member) / Hill, Gary (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2013
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Artistic trends of the mid-nineteenth century demonstrate the popularity of incorporating Asian elements into various artistic media. This paper discusses why the stereotypical Asian female provided an attractive character for operatic librettists, composers and audiences. To support the discussion, six operas from 1885 to 2010 are examined, and the dramatic and musical portrayal of representative female characters is discussed. The familiar character of Cio-cio-san from Giocamo Puccini's Madama Butterfly (1904) provides a foundation to discuss these stereotypical Asian female characteristics, specifically one archetype, that of the naïve, yet sexually desirable female. Prior to Cio-cio-san, Sir W. S. Gilbert and Sir Arthur Sullivan's Yum-Yum from The Mikado (1885), Iris of Pietro Mascagni's Iris (1898) exemplify this archetype, as does Liù from Puccini's Turandot (1924). At the other extreme is the icy, cold and bloodthirsty archetype found in the title role of Puccini's Turandot and Katisha from The Mikado. Chiang Ch'ing (also known as Madame Mao) from John Adams's Nixon in China (1987), and Madame White Snake from Chinese-American composer Zhou Long's Madame White Snake (2010) feature leading characters that demonstrate elements of both of these archetypes, and this combination of the two archetypes yields more complex and richer characters. These two extremes of the female Asian stereotype and the evolution of these characteristics provide an interesting outlook on the incorporation of non-Western musical styles into these operas, and the understanding of a Western perception of foreign peoples, especially foreign females.
ContributorsLo, Wan-Yi (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Committee member) / Kopta, Anne (Committee member) / Mills, Robert (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Dealloying induced stress corrosion cracking is particularly relevant in energy conversion systems (both nuclear and fossil fuel) as many failures in alloys such as austenitic stainless steel and nickel-based systems result directly from dealloying. This study provides evidence of the role of unstable dynamic fracture processes in dealloying induced stress-corrosion cracking of face-centered cubic alloys. Corrosion of such alloys often results in the formation of a brittle nanoporous layer which we hypothesize serves to nucleate a crack that owing to dynamic effects penetrates into the un-dealloyed parent phase alloy. Thus, since there is essentially a purely mechanical component of cracking, stress corrosion crack propagation rates can be significantly larger than that predicted from electrochemical parameters. The main objective of this work is to examine and test this hypothesis under conditions relevant to stress corrosion cracking. Silver-gold alloys serve as a model system for this study since hydrogen effects can be neglected on a thermodynamic basis, which allows us to focus on a single cracking mechanism. In order to study various aspects of this problem, the dynamic fracture properties of monolithic nanoporous gold (NPG) were examined in air and under electrochemical conditions relevant to stress corrosion cracking. The detailed processes associated with the crack injection phenomenon were also examined by forming dealloyed nanoporous layers of prescribed properties on un-dealloyed parent phase structures and measuring crack penetration distances. Dynamic fracture in monolithic NPG and in crack injection experiments was examined using high-speed (106 frames s-1) digital photography. The tunable set of experimental parameters included the NPG length scale (20-40 nm), thickness of the dealloyed layer (10-3000 nm) and the electrochemical potential (0.5-1.5 V). The results of crack injection experiments were characterized using the dual-beam focused ion beam/scanning electron microscopy. Together these tools allow us to very accurately examine the detailed structure and composition of dealloyed grain boundaries and compare crack injection distances to the depth of dealloying. The results of this work should provide a basis for new mathematical modeling of dealloying induced stress corrosion cracking while providing a sound physical basis for the design of new alloys that may not be susceptible to this form of cracking. Additionally, the obtained results should be of broad interest to researchers interested in the fracture properties of nano-structured materials. The findings will open up new avenues of research apart from any implications the study may have for stress corrosion cracking.
ContributorsSun, Shaofeng (Author) / Sieradzki, Karl (Thesis advisor) / Jiang, Hanqing (Committee member) / Peralta, Pedro (Committee member) / Arizona State University (Publisher)
Created2012
Description
The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing simply did not exist. Any prior application of scientific study to the voice was based primarily upon auditory evaluation, rather than objective data accumulation and assessment. After a centuries-long history, within a span of twenty years, vocal pedagogy evolved from an approach solely derived from subjective, auditory evidence to an application grounded in scientific data. By means of analysis of significant publications by Richard Miller, Robert Sataloff, and Ingo Titze, as well as articles from The Journal of Singing and The Journal of Voice, I establish a baseline of scientific knowledge and pedagogic practice ca. 1980. Analysis and comparison of a timeline of advancement in scientific insight and the discussion of science in pedagogical texts, 1980-2000, reveal the extent to which voice teachers have dramatically changed their method of instruction. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do, via auditory demonstration and visual imagery, to validating with scientific data how and why students should change their vocal approach. The consequence of this dramatic pedagogic evolution has produced singers who comprehend more fully the science of their art.
ContributorsVelarde, Rachel (Author) / Doan, Jerry (Thesis advisor) / Campbell, Andrew (Committee member) / Solis, Theodore (Committee member) / Elgar Kopta, Anne (Committee member) / Britton, David (Committee member) / Arizona State University (Publisher)
Created2013
Description
The focus of this investigation is on the optimum placement of a limited number of dampers, fewer than the number of blades, on a bladed disk to induce the smallest amplitude of blade response. The optimization process considers the presence of random mistuning, i.e. small involuntary variations in blade stiffness properties resulting, say, from manufacturing variability. Designed variations of these properties, known as intentional mistuning, is considered as an option to reduce blade response and the pattern of two blade types (A and B blades) is then part of the optimization in addition to the location of dampers on the disk. First, this study focuses on the formulation and validation of dedicated algorithms for the selection of the damper locations and the intentional mistuning pattern. Failure of one or several of the dampers could lead to a sharp rise in blade response and this issue is addressed by including, in the optimization, the possibility of damper failure to yield a fail-safe solution. The high efficiency and accuracy of the optimization algorithms is assessed in comparison with computationally very demanding exhaustive search results. Second, the developed optimization algorithms are applied to nonlinear dampers (underplatform friction dampers), as well as to blade-blade dampers, both linear and nonlinear. Further, the optimization of blade-only and blade-blade linear dampers is extended to include uncertainty or variability in the damper properties induced by manufacturing or wear. It is found that the optimum achieved without considering such uncertainty is robust with respect to it. Finally, the potential benefits of using two different types of friction dampers differing in their masses (A and B types), on a bladed disk are considered. Both A/B pattern and the damper masses are optimized to obtain the largest benefit compared to using identical dampers of optimized masses on every blade. Four situations are considered: tuned disks, disks with random mistuning of blade stiffness, and, disks with random mistuning of both blade stiffness and damper normal forces with and without damper variability induced by manufacturing and wear. In all cases, the benefit of intentional mistuning of friction dampers is small, of the order of a few percent.
ContributorsMurthy, Raghavendra Narasimha (Author) / Mignolet, Marc P (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Lentz, Jeff (Committee member) / Chattopadhyay, Aditi (Committee member) / Jiang, Hanqing (Committee member) / Arizona State University (Publisher)
Created2012
Description
Ball Grid Array (BGA) using lead-free or lead-rich solder materials are widely used as Second Level Interconnects (SLI) in mounting packaged components to the printed circuit board (PCB). The reliability of these solder joints is of significant importance to the performance of microelectronics components and systems. Product design/form-factor, solder material, manufacturing process, use condition, as well as, the inherent variabilities present in the system, greatly influence product reliability. Accurate reliability analysis requires an integrated approach to concurrently account for all these factors and their synergistic effects. Such an integrated and robust methodology can be used in design and development of new and advanced microelectronics systems and can provide significant improvement in cycle-time, cost, and reliability. IMPRPK approach is based on a probabilistic methodology, focusing on three major tasks of (1) Characterization of BGA solder joints to identify failure mechanisms and obtain statistical data, (2) Finite Element analysis (FEM) to predict system response needed for life prediction, and (3) development of a probabilistic methodology to predict the reliability, as well as, the sensitivity of the system to various parameters and the variabilities. These tasks and the predictive capabilities of IMPRPK in microelectronic reliability analysis are discussed.
ContributorsFallah-Adl, Ali (Author) / Tasooji, Amaneh (Thesis advisor) / Krause, Stephen (Committee member) / Alford, Terry (Committee member) / Jiang, Hanqing (Committee member) / Mahajan, Ravi (Committee member) / Arizona State University (Publisher)
Created2013