Matching Items (240)
Description
The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced

The focus of this study was the first Serbian opera, Na Uranku (At Dawn). It was written by Stanislav Binièki (1872-1942) and was first performed in 1903 at the National Theatre in Belgrade. There were two objectives of this project: (1) a live concert performance of the opera, which produced an audio recording that can be found as an appendix; and, (2) an accompanying document containing a history and an analysis of the work. While Binièki's opera is recognized as an extraordinary artistic achievement, and a new genre of musical enrichment for Serbian music, little had been previously written either about the composer or the work. At Dawn is a romantic opera in the verismo tradition with national elements. The significance of this opera is not only in its artistic expression but also in how it helped the music of Serbia evolve. Early opera settings in Serbia in the mid-nineteenth to early twentieth century did not have the same wealth of history upon which to draw as had existed in the rich operatic oeuvre in Western Europe and Russia. Similarly, conditions for performance were not satisfactory, as were no professional orchestras or singers. Furthermore, audiences were not accustomed to this type of art form. The opera served as an educational instrument for the audience, not only training them to a different type of music but also evolving its national consciousness. Binièki's opera was a foundation on which later generations of composers built. The artistic value of this opera is emphasized. The musical language includes an assimilation of various influences from Western Europe and Russia, properly incorporated into the Serbian musical core. Audience reaction is discussed, a positive affirmation that Binièki was moving in the right direction in establishing a path for the further development of the artistic field of Serbian musical culture. A synopsis of the work as well as the requisite performing forces is also included.
ContributorsMinov, Jana (Author) / Russell, Timothy (Thesis advisor) / Levy, Benjamin (Committee member) / Schildkret, David (Committee member) / Rogers, Rodney (Committee member) / Reber, William (Committee member) / Arizona State University (Publisher)
Created2011
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Description

Papago Park in Tempe, Arizona (USA) is host to several buttes composed of landslide breccias. The focus of this thesis is a butte called “Contact Hill,” which is composed of metarhyolitic debris flows, granitic debris flows, and Barnes Butte Breccia. The Barnes Butte Breccia can be broken down into several

Papago Park in Tempe, Arizona (USA) is host to several buttes composed of landslide breccias. The focus of this thesis is a butte called “Contact Hill,” which is composed of metarhyolitic debris flows, granitic debris flows, and Barnes Butte Breccia. The Barnes Butte Breccia can be broken down into several different compositional categories that can be dated based on their relative ages. The depositional timeline of these rocks is explored through their mineral and physical properties. The rhyolitic debris flow is massively bedded and dips at 26° to the southeast. The granitic debris flow is not bedded and exhibits a mixture of granite clasts of different grain sizes. In thin section analysis, five mineral types were identified: opaque inclusions, white quartz, anhedral and subhedral biotite, yellow stained K-feldspar, and gray plagioclase. It is hypothesized that regional stretching and compression of the crust, accompanied with magmatism, helped bring the metarhyolite and granite to the surface. Domino-like fault blocks caused large brecciation, and collapse of a nearby quartzite and granite mountain helped create the Barnes Butte Breccia: a combination of quartzite, metarhyolite, and granite clasts. Evidence of Papago Park’s ancient terrestrial history is seen in metarhyolite clasts containing sand grains. These geologic events, in addition to erosion, are responsible for Papago Park’s unique appearance today.

ContributorsScheller, Jessica Rose (Author) / Reynolds, Stephen (Thesis director) / Johnson, Julia (Committee member) / School of Earth and Space Exploration (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Stardust grains can provide useful information about the Solar System environment before the Sun was born. Stardust grains show distinct isotopic compositions that indicate their origins, like the atmospheres of red giant stars, asymptotic giant branch stars, and supernovae (e.g., Bose et al. 2010). It has been argued that some

Stardust grains can provide useful information about the Solar System environment before the Sun was born. Stardust grains show distinct isotopic compositions that indicate their origins, like the atmospheres of red giant stars, asymptotic giant branch stars, and supernovae (e.g., Bose et al. 2010). It has been argued that some stardust grains likely condensed in classical nova outbursts (e.g., Amari et al. 2001). These nova candidate grains contain 13C, 15N and 17O-rich nuclides which are produced by proton burning. However, these nuclides alone cannot constrain the stellar source of nova candidate grains. Nova ejecta is rich in 7Be that decays to 7Li (which has a half-life of ~53 days). I want to measure 6,7Li isotopes in nova candidate grains using the NanoSIMS 50L (nanoscale secondary ion mass spectrometry) to establish their nova origins without ambiguity. Several stardust grains that are nova candidate grains were identified in meteorite Acfer 094 on the basis of their oxygen isotopes. The identified silicate and oxide stardust grains are <500 nm in size and exist in the meteorite surrounded by meteoritic silicates. Therefore, 6,7Li isotopic measurements on these grains are hindered because of the large 300-500 nm oxygen ion beam in the NanoSIMS. I devised a methodology to isolate stardust grains by performing Focused Ion Beam milling with the FIB – Nova 200 NanoLab (FEI) instrument. We proved that the current FIB instrument cannot be used to prepare stardust grains smaller than 1 𝜇m due to lacking capabilities of the FIB. For future analyses, we could either use the same milling technique with the new and improved FIB – Helios 5 UX or use the recently constructed duoplasmatron on the NanoSIMS that can achieve a size of ~75 nm oxygen ion beam.

ContributorsDuncan, Ethan Jay (Author) / Bose, Miatrayee (Thesis director) / Starrfield, Sumner (Committee member) / Desch, Steve (Committee member) / School of Earth and Space Exploration (Contributor) / Department of Physics (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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In this study, the influence of fluid mixing on temperature and geochemistry of hot spring fluids is investigated. Yellowstone National Park (YNP) is home to a diverse range of hot springs with varying temperature and chemistry. The mixing zone of interest in this paper, located in Geyser Creek, YNP, has

In this study, the influence of fluid mixing on temperature and geochemistry of hot spring fluids is investigated. Yellowstone National Park (YNP) is home to a diverse range of hot springs with varying temperature and chemistry. The mixing zone of interest in this paper, located in Geyser Creek, YNP, has been a point of interest since at least the 1960’s (Raymahashay, 1968). Two springs, one basic (~pH 7) and one acidic (~pH 3) mix together down an outflow channel. There are visual bands of different photosynthetic pigments which suggests the creation of temperature and chemical gradients due to the fluids mixing. In this study, to determine if fluid mixing is driving these changes of temperature and chemistry in the system, a model that factors in evaporation and cooling was developed and compared to measured temperature and chemical data collected downstream. Comparison of the modeled temperature and chemistry to the measured values at the downstream mixture shows that many of the ions, such as Cl⁻, F⁻, and Li⁺, behave conservatively with respect to mixing. This indicates that the influence of mixing accounts for a large proportion of variation in the chemical composition of the system. However, there are some chemical constituents like CH₄, H₂, and NO₃⁻, that were not conserved, and the concentrations were either depleted or increased in the downstream mixture. Some of these constituents are known to be used by microorganisms. The development of this mixing model can be used as a tool for predicting biological activity as well as building the framework for future geochemical and computational models that can be used to understand the energy availability and the microbial communities that are present.

ContributorsOrrill, Brianna Isabel (Author) / Shock, Everett (Thesis director) / Howells, Alta (Committee member) / School of Life Sciences (Contributor) / School of Earth and Space Exploration (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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This research endeavor explores the 1964 reasoning of Irish physicist John Bell and how it pertains to the provoking Einstein-Podolsky-Rosen Paradox. It is necessary to establish the machinations of formalisms ranging from conservation laws to quantum mechanical principles. The notion that locality is unable to be reconciled with the quantum

This research endeavor explores the 1964 reasoning of Irish physicist John Bell and how it pertains to the provoking Einstein-Podolsky-Rosen Paradox. It is necessary to establish the machinations of formalisms ranging from conservation laws to quantum mechanical principles. The notion that locality is unable to be reconciled with the quantum paradigm is upheld through analysis and the subsequent Aspect experiments in the years 1980-1982. No matter the complexity, any local hidden variable theory is incompatible with the formulation of standard quantum mechanics. A number of strikingly ambiguous and abstract concepts are addressed in this pursuit to deduce quantum's validity, including separability and reality. `Elements of reality' characteristic of unique spaces are defined using basis terminology and logic from EPR. The discussion draws directly from Bell's succinct 1964 Physics 1 paper as well as numerous other useful sources. The fundamental principle and insight gleaned is that quantum physics is indeed nonlocal; the door into its metaphysical and philosophical implications has long since been opened. Yet the nexus of information pertaining to Bell's inequality and EPR logic does nothing but assert the impeccable success of quantum physics' ability to describe nature.

ContributorsRapp, Sean R (Author) / Foy, Joseph (Thesis director) / Martin, Thomas (Committee member) / School of Earth and Space Exploration (Contributor) / Department of Physics (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Stellar mass loss has a high impact on the overall evolution of a star. The amount<br/>of mass lost during a star’s lifetime dictates which remnant will be left behind and how<br/>the circumstellar environment will be affected. Several rates of mass loss have been<br/>proposed for use in stellar evolution codes, yielding

Stellar mass loss has a high impact on the overall evolution of a star. The amount<br/>of mass lost during a star’s lifetime dictates which remnant will be left behind and how<br/>the circumstellar environment will be affected. Several rates of mass loss have been<br/>proposed for use in stellar evolution codes, yielding discrepant results from codes using<br/>different rates. In this paper, I compare the effect of varying the mass loss rate in the<br/>stellar evolution code TYCHO on the initial-final mass relation. I computed four sets of<br/>models with varying mass loss rates and metallicities. Due to a large number of models<br/>reaching the luminous blue variable stage, only the two lower metallicity groups were<br/>considered. Their mass loss was analyzed using Python. Luminosity, temperature, and<br/>radius were also compared. The initial-final mass relation plots showed that in the 1/10<br/>solar metallicity case, reducing the mass loss rate tended to increase the dependence of final mass on initial mass. The limited nature of these results implies a need for further study into the effects of using different mass loss rates in the code TYCHO.

ContributorsAuchterlonie, Lauren (Author) / Young, Patrick (Thesis director) / Shkolnik, Evgenya (Committee member) / Starrfield, Sumner (Committee member) / School of Earth and Space Exploration (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description
ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and

ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble &eacutetudes; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble &eacutetude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying &eacutetudes; in a group, this document introduces creative ways that works for violin ensemble can be used as both &eacutetudes; and performance pieces. The first two chapters explore the history and philosophy of the violin &eacutetude; and multiple-violin works, the practice of arranging of solo &eacutetudes; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble &eacutetude; study from solo &eacutetude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: &eacutetude; for Four Violins, with an explanation of the process and techniques used to create this ensemble &eacutetude.; This work is an example of the musical and technical integration essential to &eacutetude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble &eacutetudes; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble &eacutetudes; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.
ContributorsLundell, Eva Rachel (Contributor) / Swartz, Jonathan (Thesis advisor) / Rockmaker, Jody (Committee member) / Buck, Nancy (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
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Description
The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications,

The name of Geechie Wiley has surfaced only rarely since 1931, when she recorded her second session with the Paramount Company in Grafton, WI. A few scholars including Paul Oliver and Greil Marcus unearthed and promoted her music and called for further research on this enigmatic figure. In other publications, Wiley is frequently given only passing mention in long lists of talented female blues singer-guitarists, or briefly discussed in descriptions of songsters. Her music is lauded in the liner notes of the myriad compilation albums that have re-released her recordings. However, prior to this study, Marcus's three-page profile is the longest work written about Wiley; other contributions range between one sentence and two paragraphs in length. None really answers the question: who was Geechie Wiley? This thesis begins by documenting my attempt to piece together all information presently available on Geechie Wiley. A biographical chapter, supplemented with a discussion of the blues songster, follows. I then discuss my methodology and philosophy for transcription. This is followed by a critical and comparative analysis of the recordings, using the transcriptions as supplements. Finally, my fifth chapter presents conclusions about Wiley's life, career, and disappearance. My transcriptions of Wiley's six songs are found in the first appendix. Reproductions of Paramount Records advertisements are located in the final appendix. In these ways, this thesis argues that Wiley's work traces the transformation of African-American music from the general secular music of the songsters to the iconic blues genre.
ContributorsCordeiro, AnneMarie Youell (Author) / Norton, Kay (Thesis advisor) / Mook, Richard (Committee member) / Sunkett, Mark (Committee member) / Arizona State University (Publisher)
Created2011
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Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic

Finger motion and hand posture of six professional clarinetists (defined by entrance into or completion of a doctorate of musical arts degree in clarinet performance) were recorded using a pair of CyberGloves® in Arizona State University's Center for Cognitive Ubiquitous Computing Laboratory. Performance tasks included performing a slurred three-octave chromatic scale in sixteenth notes, at sixty quarter-note beats per minute, three times, with a metronome and a short pause between repetitions, and forming three pedagogical hand postures. Following the CyberGloves® tasks, each subject completed a questionnaire about equipment, playing history, practice routines, health practices, and hand usage during computer and sports activities. CyberGlove® data were analyzed to find average hand/finger postures and differences for each pitch across subjects, subject variance in the performance task and differences in ascending and descending postures of the chromatic scale. The data were also analyzed to describe generalized finger posture characteristics based on hand size, whether right hand thumb position affects finger flexion, and whether professional clarinetists use similar finger/hand postures when performing on clarinet, holding a tennis ball, allowing hands to hang freely by the sides, or form a "C" shape. The findings of this study suggest an individual approach based on hand size is necessary for teaching clarinet hand posture.
ContributorsHarger, Stefanie (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Koonce, Frank (Committee member) / Norton, Kay (Committee member) / Stauffer, Sandy (Committee member) / Arizona State University (Publisher)
Created2011
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Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as

The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011