Matching Items (307)
Description
The alkali activation of aluminosilicate materials as binder systems derived from industrial byproducts have been extensively studied due to the advantages they offer in terms enhanced material properties, while increasing sustainability by the reuse of industrial waste and byproducts and reducing the adverse impacts of OPC production. Fly ash and ground granulated blast furnace slag are commonly used for their content of soluble silica and aluminate species that can undergo dissolution, polymerization with the alkali, condensation on particle surfaces and solidification. The following topics are the focus of this thesis: (i) the use of microwave assisted thermal processing, in addition to heat-curing as a means of alkali activation and (ii) the relative effects of alkali cations (K or Na) in the activator (powder activators) on the mechanical properties and chemical structure of these systems. Unsuitable curing conditions instigate carbonation, which in turn lowers the pH of the system causing significant reductions in the rate of fly ash activation and mechanical strength development. This study explores the effects of sealing the samples during the curing process, which effectively traps the free water in the system, and allows for increased aluminosilicate activation. The use of microwave-curing in lieu of thermal-curing is also studied in order to reduce energy consumption and for its ability to provide fast volumetric heating. Potassium-based powder activators dry blended into the slag binder system is shown to be effective in obtaining very high compressive strengths under moist curing conditions (greater than 70 MPa), whereas sodium-based powder activation is much weaker (around 25 MPa). Compressive strength decreases when fly ash is introduced into the system. Isothermal calorimetry is used to evaluate the early hydration process, and to understand the reaction kinetics of the alkali powder activated systems. A qualitative evidence of the alkali-hydroxide concentration of the paste pore solution through the use of electrical conductivity measurements is also presented, with the results indicating the ion concentration of alkali is more prevalent in the pore solution of potassium-based systems. The use of advanced spectroscopic and thermal analysis techniques to distinguish the influence of studied parameters is also discussed.
ContributorsChowdhury, Ussala (Author) / Neithalath, Narayanan (Thesis advisor) / Rajan, Subramanium D. (Committee member) / Mobasher, Barzin (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
Although opera is the last musical genre one typically associates with Latin America, Mexican composer Daniel Catán (1949-2011) found surprising success across the United States and overseas with his opera Florencia en el Amazonas (1996). Catán blends colorful music with literary elements to create a representation of Latin American culture through language, drama, scenery, and music. Among these elements is realism mágico (magical realism), a significant characteristic of Latin American literature. Indeed, the plot of the opera is influenced by Gabriel García Márquez's novel, El amor en los tiempos del cólera (Love in the Time of Cholera, 1985), as well as the poem "Mariposa de obsidiana" (Obsidian Butterfly, 1951) and the short story "La hija de Rappaccini" (Rappaccini's Daughter, 1953), both by Octavio Paz. To create his protagonist in the opera, Florencia Grimaldi, Catán combines the dramatic qualities of several European soprano heroines. This figure's character development is conveyed largely through her Act I, Scene 2, aria, "Florencia Grimaldi," and her Act II, Scene 17, aria, "Escúchame." An overview of the opera places these two arias into context, and their musical content and text-setting are closely examined in relation to the character of Florencia. Finally, how Daniel Catán creates a soprano heroine from the Latin American perspective is discussed.
ContributorsFlores, Andrea, D.M.A (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / May, Judy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Nineteenth-century French organ builder Aristide Cavaillé-Coll and organist-composer César Franck established a foundation for the revival of organ music in France. Following the French Revolution, organ culture had degenerated because of the instrument's association with the church. Beginning with his instrument at St. Dénis, Cavaillé-Coll created a new symphonic organ that made it possible for composers to write organ music in the new Romantic aesthetic. In 1859, Franck received a new Cavaillé-Coll organ at the Parisian church where he served as organist, Sainte-Clotilde. He began experimenting with the innovations of this instrument: an expressive division, mechanical assists, new types of tone color, and an expanded pedal division. From about 1860, Franck began composing his first pieces for the Cavaillé-Coll organ; these were published in 1868 as the Six Pièces. With these compositions, Franck led the way in adapting the resources of the French symphonic organ to Romantic music. In this paper, I provide an analysis of the structure of each of the Six Pièces as a foundation for exploring ways in which Franck exploited the new features of his Cavaillé-Coll organ. I have made sound recordings to demonstrate specific examples of how the music fits the organ. Thanks to Cavaillé-Coll's innovations in organ building, Franck was able to write large-scale, multi-thematic works with the sonorous resources necessary to render them convincingly. The Six Pièces reveal a strong creative exchange between organist and organ builder, and they portend many of the subsequent developments of the French symphonic organ school.
ContributorsSung, Anna (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Pagano, Caio (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study focuses on implementing probabilistic nature of material properties (Kevlar® 49) to the existing deterministic finite element analysis (FEA) of fabric based engine containment system through Monte Carlo simulations (MCS) and implementation of probabilistic analysis in engineering designs through Reliability Based Design Optimization (RBDO). First, the emphasis is on experimental data analysis focusing on probabilistic distribution models which characterize the randomness associated with the experimental data. The material properties of Kevlar® 49 are modeled using experimental data analysis and implemented along with an existing spiral modeling scheme (SMS) and user defined constitutive model (UMAT) for fabric based engine containment simulations in LS-DYNA. MCS of the model are performed to observe the failure pattern and exit velocities of the models. Then the solutions are compared with NASA experimental tests and deterministic results. MCS with probabilistic material data give a good prospective on results rather than a single deterministic simulation results. The next part of research is to implement the probabilistic material properties in engineering designs. The main aim of structural design is to obtain optimal solutions. In any case, in a deterministic optimization problem even though the structures are cost effective, it becomes highly unreliable if the uncertainty that may be associated with the system (material properties, loading etc.) is not represented or considered in the solution process. Reliable and optimal solution can be obtained by performing reliability optimization along with the deterministic optimization, which is RBDO. In RBDO problem formulation, in addition to structural performance constraints, reliability constraints are also considered. This part of research starts with introduction to reliability analysis such as first order reliability analysis, second order reliability analysis followed by simulation technique that are performed to obtain probability of failure and reliability of structures. Next, decoupled RBDO procedure is proposed with a new reliability analysis formulation with sensitivity analysis, which is performed to remove the highly reliable constraints in the RBDO, thereby reducing the computational time and function evaluations. Followed by implementation of the reliability analysis concepts and RBDO in finite element 2D truss problems and a planar beam problem are presented and discussed.
ContributorsDeivanayagam, Arumugam (Author) / Rajan, Subramaniam D. (Thesis advisor) / Mobasher, Barzin (Committee member) / Neithalath, Narayanan (Committee member) / Arizona State University (Publisher)
Created2012
Description
Libby Larsen is one of the most performed and acclaimed composers today. She is a spirited, compelling, and sensitive composer whose music enhances the poetry of America's most prominent authors. Notable among her works are song cycles for soprano based on the poetry of female writers, among them novelist and poet Willa Cather (1873-1947). Larsen has produced two song cycles on works from Cather's substantial output of fiction: one based on Cather's short story, "Eric Hermannson's Soul," titled Margaret Songs: Three Songs from Willa Cather (1996); and later, My Antonia (2000), based on Cather's novel of the same title. In Margaret Songs, Cather's poetry and short stories--specifically the character of Margaret Elliot--combine with Larsen's unique compositional style to create a surprising collaboration. This study explores how Larsen in these songs delves into the emotional and psychological depths of Margaret's character, not fully formed by Cather. It is only through Larsen's music and Cather's poetry that Margaret's journey through self-discovery and love become fully realized. This song cycle is a glimpse through the eyes of two prominent female artists on the societal pressures placed upon Margaret's character, many of which still resonate with women in today's culture. This study examines the work Margaret Songs by discussing Willa Cather, her musical influences, and the conditions surrounding the writing of "Eric Hermannson's Soul." It looks also into Cather's influence on Libby Larsen and the commission leading to Margaret Songs. Finally, a description of the musical, dramatic, and textual content of the songs completes this interpretation of the interactions of Willa Cather, Libby Larsen, and the character of Margaret Elliot.
ContributorsMcLain, Christi Marie (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Holbrook, Amy (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Real-time composer-performer collaboration as explored in Wilderness, a dance and audio installation
Description
From fall 2010 to spring 2011, the author was the pianist in twenty public performances of Wilderness, a site-adaptable dance and audio installation by choreographer Yanira Castro and composer Stephan Moore. Wilderness's music was generated as the result of an algorithmic treatment of data collected from the movements of both dancers and audience members within the performance space. The immediacy of using movement to instantaneously generate sounds resulted in the need for a real-time notational environment inhabited by a sight-reading musician. Wilderness provided the author the opportunity to extensively explore an extreme sight-reading environment, as well as the experience of playing guided improvisations over existing materials while incorporating lateral thinking strategies, resulting from a real-time collaboration between composer and performer during the course of a live performance. This paper describes Wilderness in detail with particular attention focused on aspects of the work that most directly affect the pianist: the work's real-time notational system, live interaction between composer and performer, and the freedoms and limitations of guided improvisation. There is a significant amount of multi-media documentation of Wilderness available online, and the reader is directed toward this online content in the paper's appendix.
ContributorsDauphinais, Michael (Author) / Campbell, Andrew (Thesis advisor) / Hackbarth, Glenn (Committee member) / McAllister, Timothy (Committee member) / Pilafian, J. Samuel (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
Description
The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn tunes, as the foundation for many of his art songs. If beginning students first are exposed to this borrowed material, such as a simple hymn tune, which should be well within even the most experienced singer's comfort range, they can then learn this tune first, as a more simplistic reference point, and then focus on how Ives altered the tunes, rather then having to learn what seems like an entirely new melody. In this way, Ives's art songs can become more accessible to less-experienced singers. This paper outlines a method for researching and learning the borrowed materials in Ives's songs that utilize them, and reviews materials already commonly used by voice teachers to help beginning students learn their music. By combining this method, which focuses on the borrowed materials, with standard practices teachers can then help their beginning students more easily learn and perform Ives's art songs. Four songs, from the set "Four Hymn Tune Settings" by Charles Ives are used to illustrate this method.
ContributorsRuhleder, Kathleen (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Carpenter, Ellon (Committee member) / May, Judy (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2012
Description
This paper investigates the origins of the piano recital as invented by Franz Liszt, presents varying strategies for program design, and compares Liszt's application of the format with current trends. In addition it examines the concepts of program music, musical ekphrasis, and Gesamtkunstwerk and proposes a new multimedia piano concert format in which music combines with the mediums of literature and the visual arts; Picturing Rachmaninoff, and Picturing Ravel provide two recent examples of this format.
ContributorsCook, Stephen Barry (Author) / Hamilton, Robert (Thesis advisor) / DeMars, James (Committee member) / Ryan, Russell (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Arizona State University (Publisher)
Created2012
Description
Concrete design has recently seen a shift in focus from prescriptive specifications to performance based specifications with increasing demands for sustainable products. Fiber reinforced composites (FRC) provides unique properties to a material that is very weak under tensile loads. The addition of fibers to a concrete mix provides additional ductility and reduces the propagation of cracks in the concrete structure. It is the fibers that bridge the crack and dissipate the incurred strain energy in the form of a fiber-pullout mechanism. The addition of fibers plays an important role in tunnel lining systems and in reducing shrinkage cracking in high performance concretes. The interest in most design situations is the load where cracking first takes place. Typically the post crack response will exhibit either a load bearing increase as deflection continues, or a load bearing decrease as deflection continues. These behaviors are referred to as strain hardening and strain softening respectively. A strain softening or hardening response is used to model the behavior of different types of fiber reinforced concrete and simulate the experimental flexural response. Closed form equations for moment-curvature response of rectangular beams under four and three point loading in conjunction with crack localization rules are utilized. As a result, the stress distribution that considers a shifting neutral axis can be simulated which provides a more accurate representation of the residual strength of the fiber cement composites. The use of typical residual strength parameters by standards organizations ASTM, JCI and RILEM are examined to be incorrect in their linear elastic assumption of FRC behavior. Finite element models were implemented to study the effects and simulate the load defection response of fiber reinforced shotcrete round discrete panels (RDP's) tested in accordance with ASTM C-1550. The back-calculated material properties from the flexural tests were used as a basis for the FEM material models. Further development of FEM beams were also used to provide additional comparisons in residual strengths of early age samples. A correlation between the RDP and flexural beam test was generated based a relationship between normalized toughness with respect to the newly generated crack surfaces. A set of design equations are proposed using a residual strength correction factor generated by the model and produce the design moment based on specified concrete slab geometry.
ContributorsBarsby, Christopher (Author) / Mobasher, Barzin (Thesis advisor) / Rajan, Subramaniam D. (Committee member) / Neithalath, Narayanan (Committee member) / Arizona State University (Publisher)
Created2011