Matching Items (377)
Description
As clarinet compositions created by Taiwanese composers have not been widely discussed and published in academia, this research paper examines three unaccompanied clarinet works by three Taiwanese composers: Ballade by Hsiao-Wen Tseng, Chin Thoughts III by Ling-Huei Tsai, and Pointe de Flame by Chia-Lin Pan, all commissioned by the author in 2007. This research also includes a compact disc with recordings of these works, aiming to document the creativity of Taiwanese composers. This research paper examines these three commissioned works by analyzing their overall musical styles, notations, formal structures, rhythmical and melodic materials, unconventional clarinet techniques as well as the influence of Chinese musical elements. The analysis reveals the distinctive characteristic of each piece. Moreover, the author provides composers' insights and performance guides to help interested readers practice these pieces. To further understand how the composers create these pieces by drawing upon different life experiences, the paper also includes information about their backgrounds, program notes, lists of compositions, and music examples for reference. The author found that collaborating with these composers helped to establish a closer composer-performer relationship in interpreting the music. It is hoped that this compact disc recording will help make Taiwanese composers' clarinet works more accessible to a wider audience. Moreover, this research paper hopes to generate more interest in performing and appreciating music composed by Taiwanese composers.
ContributorsChuang, Yenting (Author) / Spring, Robert (Thesis advisor) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Jiang, Danwen (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2011
Description
In the late 1960s, Granger published a seminal study on causality in time series, using linear interdependencies and information transfer. Recent developments in the field of information theory have introduced new methods to investigate the transfer of information in dynamical systems. Using concepts from Chaos and Markov theory, much of these methods have evolved to capture non-linear relations and information flow between coupled dynamical systems with applications to fields like biomedical signal processing. This thesis deals with the application of information theory to non-linear multivariate time series and develops measures of information flow to identify significant drivers and response (driven) components in networks of coupled sub-systems with variable coupling in strength and direction (uni- or bi-directional) for each connection. Transfer Entropy (TE) is used to quantify pairwise directional information. Four TE-based measures of information flow are proposed, namely TE Outflow (TEO), TE Inflow (TEI), TE Net flow (TEN), and Average TE flow (ATE). First, the reliability of the information flow measures on models, with and without noise, is evaluated. The driver and response sub-systems in these models are identified. Second, these measures are applied to electroencephalographic (EEG) data from two patients with focal epilepsy. The analysis showed dominant directions of information flow between brain sites and identified the epileptogenic focus as the system component typically with the highest value for the proposed measures (for example, ATE). Statistical tests between pre-seizure (preictal) and post-seizure (postictal) information flow also showed a breakage of the driving of the brain by the focus after seizure onset. The above findings shed light on the function of the epileptogenic focus and understanding of ictogenesis. It is expected that they will contribute to the diagnosis of epilepsy, for example by accurate identification of the epileptogenic focus from interictal periods, as well as the development of better seizure detection, prediction and control methods, for example by isolating pathologic areas of excessive information flow through electrical stimulation.
ContributorsPrasanna, Shashank (Author) / Jassemidis, Leonidas (Thesis advisor) / Tsakalis, Konstantinos (Thesis advisor) / Tepedelenlioğlu, Cihan (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study focuses on state estimation of nonlinear discrete time systems with constraints. Physical processes have inherent in them, constraints on inputs, outputs, states and disturbances. These constraints can provide additional information to the estimator in estimating states from the measured output. Recursive filters such as Kalman Filters or Extended Kalman Filters are commonly used in state estimation; however, they do not allow inclusion of constraints in their formulation. On the other hand, computational complexity of full information estimation (using all measurements) grows with iteration and becomes intractable. One way of formulating the recursive state estimation problem with constraints is the Moving Horizon Estimation (MHE) approximation. Estimates of states are calculated from the solution of a constrained optimization problem of fixed size. Detailed formulation of this strategy is studied and properties of this estimation algorithm are discussed in this work. The problem with the MHE formulation is solving an optimization problem in each iteration which is computationally intensive. State estimation with constraints can be formulated as Extended Kalman Filter (EKF) with a projection applied to estimates. The states are estimated from the measurements using standard Extended Kalman Filter (EKF) algorithm and the estimated states are projected on to a constrained set. Detailed formulation of this estimation strategy is studied and the properties associated with this algorithm are discussed. Both these state estimation strategies (MHE and EKF with projection) are tested with examples from the literature. The average estimation time and the sum of square estimation error are used to compare performance of these estimators. Results of the case studies are analyzed and trade-offs are discussed.
ContributorsJoshi, Rakesh (Author) / Tsakalis, Konstantinos (Thesis advisor) / Rodriguez, Armando (Committee member) / Si, Jennie (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsRyan, Russell (Performer) / Campbell, Andrew (Performer) / ASU Library. Music Library (Publisher)
Created2021-02-17
Description
Christopher Caliendo is a guitarist/composer who has written for a variety of performance mediums. His works been performed on international concert stages and recorded for film and television media. His compositions have garnered him the Henry Mancini Award for Film Composition, the Artin Arslanian Scholarship for Humanities, and the Peabody Grant for Scholarship. He has also received two commissions from the Vatican in 1992 and 1995. In 1988, he received an Emmy nomination for his work with the television series Paradise. The purpose of this project is to present a study of selected clarinet works by Christopher Caliendo: The Tango Concerto No. 1 is a three-movement work that Caliendo arranged for clarinet and piano in 2010, The Little Gypsy was written for solo clarinet, and Jal, Ven a mis Brazos, Amanacer, La Milonga, Acariciame, Amor Perdido, Caliente, Impulso, and Passione comprise a series of nine guitar/clarinet duos that were composed or arranged between 2009 and 2010. The document is comprised of a brief description of the career and compositions of Christopher Caliendo, a performer's guide to the selected works, a track listing for the performance recording, and a list of Caliendo's other clarinet and chamber music compositions that are intended for the concert stage. It is the hope of the author that this project can generate more interest in Christopher Caliendo's clarinet repertoire throughout the clarinet community.
ContributorsQuamo, Jeff (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Kocour, Michael (Committee member) / Hackbarth, Glenn (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2013
Description
This thesis discusses control and obstacle avoidance for non-holonomic differential drive mobile vehicles. The two important behaviors for the vehicle can be defined as go to goal and obstacle avoidance behavior. This thesis discusses both behaviors in detail. Go to goal behavior is the ability of the mobile vehicle to go from one particular co-ordinate to another. Cruise control, cartesian and posture stabilization problems are discussed as the part of this behavior. Control strategies used for the above three problems are explained in the thesis. Matlab simulations are presented to verify these controllers. Obstacle avoidance behavior ensures that the vehicle doesn't hit object in its path while going towards the goal. Three different techniques for obstacle avoidance which are useful for different kind of obstacles are described in the thesis. Matlab simulations are presented to show and discuss the three techniques. The controls discussed for the cartesian and posture stabilization were implemented on a low cost miniature vehicle to verify the results practically. The vehicle is described in the thesis in detail. The practical results are compared with the simulations. Hardware and matlab codes have been provided as a reference for the reader.
ContributorsChopra, Dhruv (Author) / Rodriguez, Armando A (Thesis advisor) / Tsakalis, Konstantinos (Committee member) / Si, Jennie (Committee member) / Arizona State University (Publisher)
Created2013
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
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
The works of premier Finnish composer Kaija Saariaho demonstrate a fascination with the exploration and expansion of timbral possibilities. This project explores Laconisme de l'aile and NoaNoa, the only two of her works written for solo C-flute. Saariaho has developed a unique compositional style for the flute, characterized by extremes of color which are expressed through extended techniques such as the integration of the voice, with and without text, into the music, the exploration of "noise," the transformation between different timbres, and the use of electronic effects. Laconisme de l'aile (1982) is a dramatic and passionate work filled with lyrical gestures and intriguing timbres with optional electronic effects, and is an excellent introduction to the composer's writing for the flute. NoaNoa (1992) is characteristic of her mature compositional style. Like many of her later works, the electronic aspect of the work is integral to the piece. Saariaho's exploration of the timbral spectrum of the flute has resulted in a complex and unusual style of notation, making these works somewhat inaccessible for performers. Additionally, the technological requirements for NoaNoa make the work both intimidating and impossible to perform without either extensive technical knowledge or consultation with someone who has the necessary technical expertise. Through a detailed performance guide and reference recordings of both works, this project aims to make these two works accessible. All technical specifications are explained and the performance instructions address notation as well execution of all designated effects. Additionally, instructions for the electronic portion of NoaNoa allow flutists to perform the work with minimal assistance.
ContributorsHodjati, Katayoon (Author) / Buck, Elizabeth (Thesis advisor) / Hackbarth, Glenn (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Spring, Robert (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