Matching Items (198)
Description
Concrete stands at the forefront of the construction industry as one of the most useful building materials. Economic and efficient improvements in concrete strengthening and manufacturing are widely sought to continuously improve the performance of the material. Fiber reinforcement is a significant technique in strengthening precast concrete, but manufacturing limitations are common which has led to reliance on steel reinforcement. Two-dimensional textile reinforcement has emerged as a strong and efficient alternative to both fiber and steel reinforced concrete with pultrusion manufacturing shown as one of the most effective methods of precasting concrete. The intention of this thesis project is to detail the components, functions, and outcomes shown in the development of an automated pultrusion system for manufacturing textile reinforced concrete (TRC). Using a preexisting, manual pultrusion system and current-day manufacturing techniques as a basis, the automated pultrusion system was designed as a series of five stations that centered on textile impregnation, system driving, and final pressing. The system was then constructed in the Arizona State University Structures Lab over the course of the spring and summer of 2015. After fabricating each station, a computer VI was coded in LabVIEW software to automatically drive the system. Upon completing construction of the system, plate and angled structural sections were then manufactured to verify the adequacy of the technique. Pultruded TRC plates were tested in tension and flexure while full-scale structural sections were tested in tension and compression. Ultimately, the automated pultrusion system was successful in establishing an efficient and consistent manufacturing process for continuous TRC sections.
ContributorsBauchmoyer, Jacob Macgregor (Author) / Mobasher, Barzin (Thesis director) / Neithalath, Narayanan (Committee member) / Civil, Environmental and Sustainable Engineering Programs (Contributor) / The Design School (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
Manufacture of building materials requires significant energy, and as demand for these materials continues to increase, the energy requirement will as well. Offsetting this energy use will require increased focus on sustainable building materials. Further, the energy used in building, particularly in heating and air conditioning, accounts for 40 percent of a buildings energy use. Increasing the efficiency of building materials will reduce energy usage over the life time of the building. Current methods for maintaining the interior environment can be highly inefficient depending on the building materials selected. Materials such as concrete have low thermal efficiency and have a low heat capacity meaning it provides little insulation. Use of phase change materials (PCM) provides the opportunity to increase environmental efficiency of buildings by using the inherent latent heat storage as well as the increased heat capacity. Incorporating PCM into concrete via lightweight aggregates (LWA) by direct addition is seen as a viable option for increasing the thermal storage capabilities of concrete, thereby increasing building energy efficiency. As PCM change phase from solid to liquid, heat is absorbed from the surroundings, decreasing the demand on the air conditioning systems on a hot day or vice versa on a cold day. Further these materials provide an additional insulating capacity above the value of plain concrete. When the temperature drops outside the PCM turns back into a solid and releases the energy stored from the day. PCM is a hydrophobic material and causes reductions in compressive strength when incorporated directly into concrete, as shown in previous studies. A proposed method for mitigating this detrimental effect, while still incorporating PCM into concrete is to encapsulate the PCM in aggregate. This technique would, in theory, allow for the use of phase change materials directly in concrete, increasing the thermal efficiency of buildings, while negating the negative effect on compressive strength of the material.
ContributorsSharma, Breeann (Author) / Neithalath, Narayanan (Thesis advisor) / Mobasher, Barzin (Committee member) / Rajan, Subramaniam D. (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsBuck, Nancy (Performer) / Ryan, Russell E. (Performer) / Weiss, Stephanie (Performer) / D'Avanzo, Dian (Performer) / ASU Library. Music Library (Publisher)
Created2021-09-26
ContributorsMokofisi, Maya (Performer) / Telling, Emily (Performer) / Hagge, Paul (Performer) / Kang, Anika (Performer) / Muldrow, Cameron (Performer) / Allen, Nicole (Performer) / Haskett, Mason (Performer) / Adler, Jacob (Performer) / Buck, Nancy (Performer) / ASU Library. Music Library (Publisher)
Created2022-11-08
Description
Eurocentrism in early 20th-century music history in Latin America demonstrates political and racial preferences that placed foreign art music over local music making practices. After the Mexican Revolution (roughly 1910–20), Mexican political and cultural leaders pushed for a “universal” aesthetic in their nation’s art music, implicitly devaluing musical references to Indigenous cultures. This contradicts the era’s indigenist cultural revolution popularized as an “Aztec Renaissance” that celebrated Mexico’s renewed notion of mestizaje (European-Indigenous racial mixture) in music and art. The Mexican elite turned to foreign intellectuals such as Adolfo Salazar (1890–1958), the Spanish-born composer and music critic who came to Mexico as an exile in 1939, to link Mexico’s postcolonial culture with the intellectual inheritance of Europe.This thesis offers discursive analysis of Salazar’s writings in the context of his Mexican years, revealing subtexts of Spanish racial and cultural superiority that indirectly served the elitist agendas of Mexican diplomats and musical tastemakers such as Carlos Chávez (1899–1978). Salazar’s hegemonic legacy in Spanish-language musicology has often been left unquestioned and therefore I assess his influence alongside the development of a music-historical paradigm that defined 20th-century Mexican art music as an international phenomenon. I argue that Salazar’s Spanish-oriented music history established dominance over musicmaking practices in Mexico through demeaning allusions to mestizaje and social hierarchies within musical nationalism. By considering Salazar’s role in Mexican musical nationalism, my thesis reveals how Eurocentric music history writing coincided with colonialist Mexican politics, legitimizing foreign intellectualism over local cultural processes.
ContributorsHeyen, Adam David (Author) / Feisst, Sabine (Thesis advisor) / Bolanos, Gabriel (Committee member) / Saikia, Yasmin (Committee member) / Arizona State University (Publisher)
Created2022
Description
While much has been written on the history of Education Concerts in the United States, there is a void in research focused on actual content, structure, and purposes of these concerts. This document seeks to fill this void through a detailed examination of salient aspects of Education Concerts, including programming, structure, rehearsal, and performance considerations. In conjunction with my research, I will draw on my first-hand experience as Associate Conductor of the Seattle Symphony, providing a glimpse into the creative challenges and solutions that confront a contemporary orchestra. Additionally, my research endeavors to discover ways of transforming the historically rigid model of orchestral operations into a structure that embraces diversity, equity, and inclusion, encourages connections, and sparks curiosity. The goal of this research, therefore, is to provide tangible references and practical guidance to the conductor or administrator who is venturing into the richness of Education Concert programming and performance in today’s everchanging orchestral landscape.
ContributorsXia, Sunny Xuecong (Author) / Caslor, Jason (Thesis advisor) / Bolanos, Gabriel (Committee member) / Feisst, Sabine (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2023
Description
High-temperature mechanical behaviors of metal alloys and underlying microstructural variations responsible for such behaviors are essential areas of interest for many industries, particularly for applications such as jet engines. Anisotropic grain structures, change of preferred grain orientation, and other transformations of grains occur both during metal powder bed fusion additive manufacturing processes, due to variation of thermal gradient and cooling rates, and afterward during different thermomechanical loads, which parts experience in their specific applications, could also impact its mechanical properties both at room and high temperatures. In this study, an in-depth analysis of how different microstructural features, such as crystallographic texture, grain size, grain boundary misorientation angles, and inherent defects, as byproducts of electron beam powder bed fusion (EB-PBF) AM process, impact its anisotropic mechanical behaviors and softening behaviors due to interacting mechanisms. Mechanical testing is conducted for EB-PBF Ti6Al4V parts made at different build orientations up to 600°C temperature. Microstructural analysis using electron backscattered diffraction (EBSD) is conducted on samples before and after mechanical testing to understand the interacting impact that temperature and mechanical load have on the activation of certain mechanisms. The vertical samples showed larger grain sizes, with an average of 6.6 µm, a lower average misorientation angle, and subsequently lower strength values than the other two horizontal samples. Among the three strong preferred grain orientations of the α phases, <1 1 2 ̅ 1> and <1 1 2 ̅ 0> were dominant in horizontally built samples, whereas the <0 0 0 1> was dominant in vertically built samples. Thus, strong microstructural variation, as observed among different EB-PBF Ti6Al4V samples, mainly resulted in anisotropic behaviors. Furthermore, alpha grain showed a significant increase in average grain size for all samples with the increasing test temperature, especially from 400°C to 600°C, indicating grain growth and coarsening as potential softening mechanisms along with temperature-induced possible dislocation motion. The severity of internal and external defects on fatigue strength has been evaluated non-destructively using quantitative methods, i.e., Murakami’s square root of area parameter model and Basquin’s model, and the external surface defects were rendered to be more critical as potential crack initiation sites.
ContributorsMian, Md Jamal (Author) / Ladani, Leila (Thesis advisor) / Razmi, Jafar (Committee member) / Shuaib, Abdelrahman (Committee member) / Mobasher, Barzin (Committee member) / Nian, Qiong (Committee member) / Arizona State University (Publisher)
Created2022
Description
Following mixed method ethnographic research conducted between January 2020 and January 2022, this thesis discusses how United States all-female mariachi musicians, or mariacheras, express femininity in the mariachi femenil. Mariachis femeniles are all-female mariachis. Building upon Mary Lee Mulholland’s (2013) discussion of how mariacheras in Jalisco are often valued more for their physical appearance than for their musical skills, this thesis investigates how similar phenomena manifest in the United States’ professional mariachi femenil circuit. Applying a Chicana Feminisms lens to a collection of 28 mariachera plática-interviews, generational and transborder mariachi knowledge production, visual expressions of mariachi femininity, and aural feminine expressions in the mariachi setting are complicated. Each participant details what it means to be a mariachera, breaking down concepts of purity in the face of dichotomous cultural gender expectation and the genre’s visual expectations of how female musicians should present themselves in society. These sociocultural phenomena led these women in many ways to disidentify and resignify various pieces of the mariachi tradition to “carve out” their own space in the practice, expressing the concern they want to be respected as a musician, not as just a visual object. Ultimately, the “carved out” space allows mariacheras to perform a “different” sound of mariachi—a negotiation of strength, femininity, and balancing sociocultural expectations of the mariachera in and out of performance.
ContributorsFlores, Cameo Rachelle (Author) / Fossum, Dave (Thesis advisor) / Estrada, Emir (Committee member) / Feisst, Sabine (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
Description
Director Wes Anderson enlisted the talents of composer Mark Mothersbaugh for his first four films (1996-2004), but suddenly decided to turn to composer Alexandre Desplat for the following five films (2009-2021). The question arises as to why this would be the case. In this paper I explore the career backgrounds of Mothersbaugh and Desplat including their musical influences and styles. I then examine Mothersbaugh’s music for The Life Aquatic with Steve Zissou and Desplat’s score for The French Dispatch. I analyze the use of music in these films and how it relates to the characters, their feelings, and their thoughts as well as how the music is intertwined with Anderson’s unique direction style. Part of this investigation will highlight the musical styles used, the mixture between composed and borrowed music, and the function of the music in the film to discover the similarities and differences between the two composers. With this paper I hope to fill a gap in the literature on film studies focused on the work of Anderson.
ContributorsReynolds, Margaret (Author) / Feisst, Sabine (Thesis director) / Busch, Ashlee (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor) / Sanford School of Social and Family Dynamics (Contributor)
Created2023-05
Description
According to the profile of the World Directory of Minorities and Indigenous Peoples, the Philippines consists over a hundred ethnolinguistic groups, twenty-seven of which were direct descendants of prehistoric settlers in the country. As a nation of diverse indigenous cultures, multiple precolonial rituals are practiced even after four centuries of Western occupation. Beside strong oral and written traditions, Filipino contemporary music contributed to the preservation of these indigenous societies. Filipino composers in the second half of the twentieth century and beyond were able to incorporate native musical concepts with Western compositional language, thereby producing a new style of contemporary music unique to the Philippines. This development did not only bring greater awareness of indigenous music to city-dwelling Filipinos, but also to the larger Western music community. While newer works from Western classical composers are performed frequently today, pieces for violin by contemporary Filipino composers are largely unknown. In this research paper the author aims to bring understanding of and visibility to Filipino contemporary music to the Western violin community through an in-depth analysis of two representative works for solo violin: Abot-Tanaw II (1984) by Filipino National Artist of Music Dr. Ramon Santos, and Darangun (1985) by award-winning composer Conrado Del Rosario.
The research paper will first explore a brief history of the Philippines and its relationship with Western classical music, from precolonial times to the twenty-first century. The succeeding chapters will be devoted to the in-depth study of the two solo violin works. After providing a biography of each composer, I will present the backgrounds and contexts of their respective works. Finally, the present author will provide thorough structural analyses of these pieces and interpretative suggestions to serve as a general performance guide for interested violinists. To gather substantial data for these chapters, the author collaborated with the composers through virtual personal interviews and electronic communication.
This research paper culminated in a lecture recital performed by the author on October 21, 2021 in Katzin Hall of the School of Music, Dance and Theater at Arizona State University, Tempe, Arizona.
ContributorsSoberano, Ramon Alfonso Cobangbang (Author) / Jiang, Danwen (Thesis advisor) / Feisst, Sabine (Committee member) / McLin, Katherine (Committee member) / Arizona State University (Publisher)
Created2021