Matching Items (258)
Description
Spotlight mode synthetic aperture radar (SAR) imaging involves a tomo- graphic reconstruction from projections, necessitating acquisition of large amounts of data in order to form a moderately sized image. Since typical SAR sensors are hosted on mobile platforms, it is common to have limitations on SAR data acquisi- tion, storage and communication that can lead to data corruption and a resulting degradation of image quality. It is convenient to consider corrupted samples as missing, creating a sparsely sampled aperture. A sparse aperture would also result from compressive sensing, which is a very attractive concept for data intensive sen- sors such as SAR. Recent developments in sparse decomposition algorithms can be applied to the problem of SAR image formation from a sparsely sampled aperture. Two modified sparse decomposition algorithms are developed, based on well known existing algorithms, modified to be practical in application on modest computa- tional resources. The two algorithms are demonstrated on real-world SAR images. Algorithm performance with respect to super-resolution, noise, coherent speckle and target/clutter decomposition is explored. These algorithms yield more accu- rate image reconstruction from sparsely sampled apertures than classical spectral estimators. At the current state of development, sparse image reconstruction using these two algorithms require about two orders of magnitude greater processing time than classical SAR image formation.
ContributorsWerth, Nicholas (Author) / Karam, Lina (Thesis advisor) / Papandreou-Suppappola, Antonia (Committee member) / Spanias, Andreas (Committee member) / Arizona State University (Publisher)
Created2011
Description
In the last few years, significant advances in nanofabrication have allowed tailoring of structures and materials at a molecular level enabling nanofabrication with precise control of dimensions and organization at molecular length scales, a development leading to significant advances in nanoscale systems. Although, the direction of progress seems to follow the path of microelectronics, the fundamental physics in a nanoscale system changes more rapidly compared to microelectronics, as the size scale is decreased. The changes in length, area, and volume ratios due to reduction in size alter the relative influence of various physical effects determining the overall operation of a system in unexpected ways. One such category of nanofluidic structures demonstrating unique ionic and molecular transport characteristics are nanopores. Nanopores derive their unique transport characteristics from the electrostatic interaction of nanopore surface charge with aqueous ionic solutions. In this doctoral research cylindrical nanopores, in single and array configuration, were fabricated in silicon-on-insulator (SOI) using a combination of electron beam lithography (EBL) and reactive ion etching (RIE). The fabrication method presented is compatible with standard semiconductor foundries and allows fabrication of nanopores with desired geometries and precise dimensional control, providing near ideal and isolated physical modeling systems to study ion transport at the nanometer level. Ion transport through nanopores was characterized by measuring ionic conductances of arrays of nanopores of various diameters for a wide range of concentration of aqueous hydrochloric acid (HCl) ionic solutions. Measured ionic conductances demonstrated two distinct regimes based on surface charge interactions at low ionic concentrations and nanopore geometry at high ionic concentrations. Field effect modulation of ion transport through nanopore arrays, in a fashion similar to semiconductor transistors, was also studied. Using ionic conductance measurements, it was shown that the concentration of ions in the nanopore volume was significantly changed when a gate voltage on nanopore arrays was applied, hence controlling their transport. Based on the ion transport results, single nanopores were used to demonstrate their application as nanoscale particle counters by using polystyrene nanobeads, monodispersed in aqueous HCl solutions of different molarities. Effects of field effect modulation on particle transition events were also demonstrated.
ContributorsJoshi, Punarvasu (Author) / Thornton, Trevor J (Thesis advisor) / Goryll, Michael (Thesis advisor) / Spanias, Andreas (Committee member) / Saraniti, Marco (Committee member) / Arizona State University (Publisher)
Created2011
Description
For synthetic aperture radar (SAR) image formation processing, the chirp scaling algorithm (CSA) has gained considerable attention mainly because of its excellent target focusing ability, optimized processing steps, and ease of implementation. In particular, unlike the range Doppler and range migration algorithms, the CSA is easy to implement since it does not require interpolation, and it can be used on both stripmap and spotlight SAR systems. Another transform that can be used to enhance the processing of SAR image formation is the fractional Fourier transform (FRFT). This transform has been recently introduced to the signal processing community, and it has shown many promising applications in the realm of SAR signal processing, specifically because of its close association to the Wigner distribution and ambiguity function. The objective of this work is to improve the application of the FRFT in order to enhance the implementation of the CSA for SAR processing. This will be achieved by processing real phase-history data from the RADARSAT-1 satellite, a multi-mode SAR platform operating in the C-band, providing imagery with resolution between 8 and 100 meters at incidence angles of 10 through 59 degrees. The phase-history data will be processed into imagery using the conventional chirp scaling algorithm. The results will then be compared using a new implementation of the CSA based on the use of the FRFT, combined with traditional SAR focusing techniques, to enhance the algorithm's focusing ability, thereby increasing the peak-to-sidelobe ratio of the focused targets. The FRFT can also be used to provide focusing enhancements at extended ranges.
ContributorsNorthrop, Judith (Author) / Papandreou-Suppappola, Antonia (Thesis advisor) / Spanias, Andreas (Committee member) / Tepedelenlioğlu, Cihan (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
Early-age cracks in fresh concrete occur mainly due to high rate of surface evaporation and restraint offered by the contracting solid phase. Available test methods that simulate severe drying conditions, however, were not originally designed to focus on evaporation and transport characteristics of the liquid-gas phases in a hydrating cementitious microstructure. Therefore, these tests lack accurate measurement of the drying rate and data interpretation based on the principles of transport properties is limited. A vacuum-based test method capable of simulating early-age cracks in 2-D cement paste is developed which continuously monitors the weight loss and changes to the surface characteristics. 2-D crack evolution is documented using time-lapse photography. Effects of sample size, w/c ratio, initial curing and fiber content are studied. In the subsequent analysis, the cement paste phase is considered as a porous medium and moisture transport is described based on surface mass transfer and internal moisture transport characteristics. Results indicate that drying occurs in two stages: constant drying rate period (stage I), followed by a falling drying rate period (stage II). Vapor diffusion in stage I and unsaturated flow within porous medium in stage II determine the overall rate of evaporation. The mass loss results are analyzed using diffusion-based models. Results show that moisture diffusivity in stage I is higher than its value in stage II by more than one order of magnitude. The drying model is used in conjunction with a shrinkage model to predict the development of capillary pressures. Similar approach is implemented in drying restrained ring specimens to predict 1-D crack width development. An analytical approach relates diffusion, shrinkage, creep, tensile and fracture properties to interpret the experimental data. Evaporation potential is introduced based on the boundary layer concept, mass transfer, and a driving force consisting of the concentration gradient. Effect of wind velocity is reflected on Reynolds number which affects the boundary layer on sample surface. This parameter along with Schmidt and Sherwood numbers are used for prediction of mass transfer coefficient. Concentration gradient is shown to be a strong function of temperature and relative humidity and used to predict the evaporation potential. Results of modeling efforts are compared with a variety of test results reported in the literature. Diffusivity data and results of 1-D and 2-D image analyses indicate significant effects of fibers on controlling early-age cracks. Presented models are capable of predicting evaporation rates and moisture flow through hydrating cement-based materials during early-age drying and shrinkage conditions.
ContributorsBakhshi, Mehdi (Author) / Mobasher, Barzin (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Zapata, Claudia E. (Committee member) / Arizona State University (Publisher)
Created2011
Description
Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Advancements in mobile technologies have significantly enhanced the capabilities of mobile devices to serve as powerful platforms for sensing, processing, and visualization. Surges in the sensing technology and the abundance of data have enabled the use of these portable devices for real-time data analysis and decision-making in digital signal processing (DSP) applications. Most of the current efforts in DSP education focus on building tools to facilitate understanding of the mathematical principles. However, there is a disconnect between real-world data processing problems and the material presented in a DSP course. Sophisticated mobile interfaces and apps can potentially play a crucial role in providing a hands-on-experience with modern DSP applications to students. In this work, a new paradigm of DSP learning is explored by building an interactive easy-to-use health monitoring application for use in DSP courses. This is motivated by the increasing commercial interest in employing mobile phones for real-time health monitoring tasks. The idea is to exploit the computational abilities of the Android platform to build m-Health modules with sensor interfaces. In particular, appropriate sensing modalities have been identified, and a suite of software functionalities have been developed. Within the existing framework of the AJDSP app, a graphical programming environment, interfaces to on-board and external sensor hardware have also been developed to acquire and process physiological data. The set of sensor signals that can be monitored include electrocardiogram (ECG), photoplethysmogram (PPG), accelerometer signal, and galvanic skin response (GSR). The proposed m-Health modules can be used to estimate parameters such as heart rate, oxygen saturation, step count, and heart rate variability. A set of laboratory exercises have been designed to demonstrate the use of these modules in DSP courses. The app was evaluated through several workshops involving graduate and undergraduate students in signal processing majors at Arizona State University. The usefulness of the software modules in enhancing student understanding of signals, sensors and DSP systems were analyzed. Student opinions about the app and the proposed m-health modules evidenced the merits of integrating tools for mobile sensing and processing in a DSP curriculum, and familiarizing students with challenges in modern data-driven applications.
ContributorsRajan, Deepta (Author) / Spanias, Andreas (Thesis advisor) / Frakes, David (Committee member) / Turaga, Pavan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Throughout history composers and artists have been inspired by the natural world. Nature's influence on music is extraordinary, though water in particular, has had a unique magnetic pull. The large number of compositions dealing with water, from Handel's Water Music (1717) to Ros Bandt's and Leah Barclay's Rivers Talk (2012), reflects this continuous fascination. Since the late 1940s, composers have ventured further and brought actual sounds from the environment, including water recorded on tape, into the musical arena. Moreover, since the 1960s, some composers have nudged their listeners to become more ecologically aware. Much skepticism exists, as with any unconventional idea in history, and as a result compositions belonging to this realm of musique concrète are not as widely recognized and examined as they should be. In this thesis, I consider works of three composers: Annea Lockwood, Eve Beglarian, and Leah Barclay, who not only draw inspiration from nature, but also use their creativity to call attention to pristine environments. All three composers embrace the idea that music can be broadly defined and use technology as a tool to communicate their artistic visions. These artists are from three different countries and represent three generations of composers who set precedents for a new way of composing, listening to, performing, and thinking about music and the environment. This thesis presents case studies of Lockwood's A Sound Map of the Danube River, Beglarian's Mississippi River Project, and Barclay's Sound Mirrors. This thesis draws on unpublished correspondence with the composers, analytical theories of R. Murray Schafer, Barry Truax, and Martijn Voorvelt, among others, musicological publications, eco-critical and environmental studies by Al Gore, Bill McKibben, and Vandana Shiva, as well as research by feminist scholars. As there is little written on music and nature from an eco-critical and eco-feminist standpoint, this thesis will contribute to the recognition of significant figures in contemporary music that might otherwise be overlooked. In this study I maintain that composers and sound artists engage with sounds in ways that reveal aspects of particular places, and their attitudes toward these places to lead listeners toward a greater ecological awareness.
ContributorsRichardson, Jamilyn (Author) / Feisst, Sabine (Thesis advisor) / Solís, Ted (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2012
Description
The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very few resources for the initial stages of performance. In order to offer performers a resource, the author of this text composed forty original etudes (or studies) that incorporate extended techniques in a variety of ways. After identifying common extended techniques that a performer might face, the author focused on four different ways each individual technique might appear in actual repertoire. The resulting work is entitled Pushing Boundaries: Forty Etudes on Extended Techniques. Each etude offers a practical approach to what is generally a single extended technique. Although this text is not pedagogical in the sense of identifying the mechanics and anatomical requirements of each technique, it does contain a performance analysis of each etude. This analysis identifies areas where performers might struggle and offers helpful suggestions. To this end, the etudes accompanied by performance analysis provide a paced, systematic approach to the mastery of each technique.
ContributorsMurphy, Patrick Joseph (Author) / Hill, Gary (Thesis advisor) / Spring, Robert (Committee member) / McAllister, Timothy (Committee member) / Micklich, Albie (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2013