The current method of measuring thermal conductivity requires flat plates. For most common civil engineering materials, creating or extracting such samples is difficult. A prototype thermal conductivity experiment had been developed at Arizona State University (ASU) to test cylindrical specimens but proved difficult for repeated testing. In this study, enhancements to both testing methods were made. Additionally, test results of cylindrical testing were correlated with the results from identical materials tested by the Guarded Hot&ndashPlate; method, which uses flat plate specimens. In validating the enhancements made to the Guarded Hot&ndashPlate; and Cylindrical Specimen methods, 23 tests were ran on five different materials. The percent difference shown for the Guarded Hot&ndashPlate; method was less than 1%. This gives strong evidence that the enhanced Guarded Hot-Plate apparatus in itself is now more accurate for measuring thermal conductivity. The correlation between the thermal conductivity values of the Guarded Hot&ndashPlate; to those of the enhanced Cylindrical Specimen method was excellent. The conventional concrete mixture, due to much higher thermal conductivity values compared to the other mixtures, yielded a P&ndashvalue; of 0.600 which provided confidence in the performance of the enhanced Cylindrical Specimen Apparatus. Several recommendations were made for the future implementation of both test methods. The work in this study fulfills the research community and industry desire for a more streamlined, cost effective, and inexpensive means to determine the thermal conductivity of various civil engineering materials.
Arguably the most noteworthy result was its flourishing musical community. Composers and performers who had worked together in Prague prior to the war were able to continue to do so freely in ways that Jewish people were not allowed anywhere else in occupied Europe. They kept the musicians in Theresienstadt—delaying their deportations to Auschwitz—longer than almost anyone else in the camp, until the threat of Soviet liberation was imminent. This thesis aims to explore the lives and works of four Theresienstadt composers: Viktor Ullmann, Pavel Haas, Gideon Klein, and Hans Krása. All four of these artists were successful prior to the war, spent time in Theresienstadt, and were sent to Auschwitz on the same transport on October 16, 1944. Three of the four died in the gas chambers of Auschwitz, and Klein was sent on to the Fürstengrube concentration camp, where he was shot and killed in January 1945. These composers and their music should be remembered, studied, and performed, not only for historical and moral reasons, but also for artistic ones. Their works represent some of the finest music in the German tradition written during this period. In conjunction with this paper, I have arranged Gideon Klein’s String Trio—one of the pieces profiled here—for saxophone quartet. Members of the Arizona State University saxophone studio will perform it twice in April. I hope that the performances will help make audiences aware of the strength of the music that came out of Theresienstadt, and reinforce the fact that it remains highly relevant. In this thesis, the composers’ careers before and during their time in Theresienstadt will be traced, as well as the measures they took to preserve their music, their interactions with each other, and their efforts to use hidden messages in their music. It is hoped that this document will help fill an important gap in the history of European music in the twentieth century.