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Description
In recent years, the field of nanomedicine has progressed at an astonishing rate, particularly with respect to applications in cancer treatment and molecular imaging. Although organic systems have been the frontrunners, inorganic systems have also begun to show promise, especially those based upon silica and magnetic nanoparticles (NPs). Many of these systems are being designed for simultaneous therapeutic and diagnostic capabilities, thus coining the term, theranostics. A unique class of inorganic systems that shows great promise as theranostics is that of layered double hydroxides (LDH). By synthesis of a core/shell structures, e.g. a gold nanoparticle (NP) core and LDH shell, the multifunctional theranostic may be developed without a drastic increase in the structural complexity. To demonstrate initial proof-of-concept of a potential (inorganic) theranostic platform, a Au-core/LDH-shell nanovector has been synthesized and characterized. The LDH shell was heterogeneously nucleated and grown on the surface of silica coated gold NPs via a coprecipitation method. Polyethylene glycol (PEG) was introduced in the initial synthesis steps to improve crystallinity and colloidal stability. Additionally, during synthesis, fluorescein isothiocyanate (FITC) was intercalated into the interlayer spacing of the LDH. In contrast to the PEG stabilization, a post synthesis citric acid treatment was used as a method to control the size and short-term stability. The heterogeneous core-shell system was characterized with scanning electron microscopy (SEM), energy dispersive x-ray spectroscopy (EDX), dynamic light scattering (DLS), and powder x-ray diffraction (PXRD). A preliminary in vitro study carried out with the assistance of Dr. Kaushal Rege's group at Arizona State University was to demonstrate the endocytosis capability of homogeneously-grown LDH NPs. The DLS measurements of the core-shell NPs indicated an average particle size of 212nm. The PXRD analysis showed that PEG greatly improved the crystallinity of the system while simultaneously preventing aggregation of the NPs. The preliminary in vitro fluorescence microscopy revealed a moderate uptake of homogeneous LDH NPs into the cells.
ContributorsRearick, Colton (Author) / Dey, Sandwip K (Thesis advisor) / Krause, Stephen (Committee member) / Ramakrishna, B (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study treats in some depth a contemporary solo piano work, "Arirang Variations" (2006) by Edward "Teddy" Niedermaier (b. 1983). Though Niedermaier is an American composer and pianist, he derives his inspiration for that work from four types of Korean arirang: "Arirang," "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang." The analysis of "Arirang Variations" focuses primarily on how the composer adapts arirang in each variation and develops them into his own musical language. A salient feature of Niedermaier's composition is his combination of certain contradictions: traditional and contemporary styles, and Western and Eastern musical styles. In order to discuss in detail the musical elements of arirang used in "Arirang Variations," scores of all the arirang Niedermaier references are included with the discussion of each. Unfortunately, sources concerning three of these were limited to a single book by Yon-gap Kim, Pukhan Arirang Yongu (A Study of North Korean Arirang), because "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang"are North Korean versions of arirang. Since arirang are the most important Korean folk song genre, basic information concerning such features of Korean traditional musical elements as scales, vocal techniques, rhythms and types of folk songs are provided along with an overview of the history and origins of arirang. Given that each arirang has distinctive characteristics that vary by region, the four best-known types of arirang are introduced to demonstrate these differences.
ContributorsPark, Hyunjin (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Levy, Benjamin (Committee member) / Thompson, Janice (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
ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; 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 études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; 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: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; 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
Description
Women's contributions to the history of Canadian music can be traced back to the late nineteenth century. However, women's achievements then, and still somewhat now, are often overlooked and as a result, piano solo works by Canadian women composers are largely unknown. The purpose of this study is to promote the wealth of solo piano repertoire composed by Canadian women, and to report the results in an accessible and comprehensible format for students, teachers, and performers at all levels. The research focuses on the most recent piano music by female composers born in or after 1950 whose compositions are available through the Canadian Music Centre (CMC) library. Brief biographies of included composers note their accomplishments, compositional output, and style characteristics. Annotations for the 103 works studied, written by twenty-six composers, include information about harmonic schemes, meters, tempos, durations, dates of the composition, CMC call number, level of difficulty, commissions, musical excerpts, premieres, and style characteristics. The style characteristics section includes composer's notes, technical challenges, musical characteristics, pedagogical values, and other pertinent information about a given piece. Since the goal of this project is to stimulate the awareness of music composed by Canadian women in a truly global sense, the research paper is supplemented by a website--www.canadianwomencomposers.com--that contains all the information found in the written portion of the annotations. This website also offers short audio samples of the compositions. The writer wishes to encourage all students, performers, and teachers to explore this resource, which reveals the richness of solo piano repertoire written by Canadian women composers.
ContributorsKim, Joo Yeon Tarina (Author) / Meyer Thompson, Janice (Thesis advisor) / Cosand, Walter (Committee member) / Hamilton, Robert (Committee member) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2011
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, 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
Description
This work investigates in-situ stress evolution of interfacial and bulk processes in electrochemical systems, and is divided into two projects. The first project examines the electrocapillarity of clean and CO-covered electrodes. It also investigates surface stress evolution during electro-oxidation of CO at Pt{111}, Ru/Pt{111} and Ru{0001} electrodes. The second project explores the evolution of bulk stress that occurs during intercalation (extraction) of lithium (Li) and formation of a solid electrolyte interphase during electrochemical reduction (oxidation) of Li at graphitic electrodes. Electrocapillarity measurements have shown that hydrogen and hydroxide adsorption are compressive on Pt{111}, Ru/Pt{111}, and Ru{0001}. The adsorption-induced surface stresses correlate strongly with adsorption charge. Electrocatalytic oxidation of CO on Pt{111} and Ru/Pt{111} gives a tensile surface stress. A numerical method was developed to separate both current and stress into background and active components. Applying this model to the CO oxidation signal on Ru{0001} gives a tensile surface stress and elucidates the rate limiting steps on all three electrodes. The enhanced catalysis of Ru/Pt{111} is confirmed to be bi-functional in nature: Ru provides adsorbed hydroxide to Pt allowing for rapid CO oxidation. The majority of Li-ion batteries have anodes consisting of graphite particles with polyvinylidene fluoride (PVDF) as binder. Intercalation of Li into graphite occurs in stages and produces anisotropic strains. As batteries have a fixed size and shape these strains are converted into mechanical stresses. Conventionally staging phenomena has been observed with X-ray diffraction and collaborated electrochemically with the potential. Work herein shows that staging is also clearly observed in stress. The Li staging potentials as measured by differential chronopotentiometry and stress are nearly identical. Relative peak heights of Li staging, as measured by these two techniques, are similar during reduction, but differ during oxidation due to non-linear stress relaxation phenomena. This stress relaxation appears to be due to homogenization of Li within graphite particles rather than viscous flow of the binder. The first Li reduction wave occurs simultaneously with formation of a passivating layer known as the solid electrolyte interphase (SEI). Preliminary experiments have shown the stress of SEI formation to be tensile (~+1.5 MPa).
ContributorsMickelson, Lawrence (Author) / Friesen, Cody (Thesis advisor) / Sieradzki, Karl (Committee member) / Buttry, Daniel (Committee member) / Venables, John (Committee member) / Arizona State University (Publisher)
Created2011
Description
The challenging search for clean, reliable and environmentally friendly energy sources has fueled increased research in thermoelectric materials, which are capable of recovering waste heat. Among the state-of-the-art thermoelectric materials β-Zn4Sb3 is outstanding because of its ultra-low glass-like thermal conductivity. Attempts to explore ternary phases in the Zn-Sb-In system resulted in the discovery of the new intermetallic compounds, stable Zn5Sb4In2-δ (δ=0.15) and metastable Zn9Sb6In2. Millimeter-sized crystals were grown from molten metal fluxes, where indium metal was employed as a reactive flux medium.Zn5Sb4In2-δ and Zn9Sb6In2 crystallize in new structure types featuring complex framework and the presence of structural disorder (defects and split atomic positions). The structure and phase relations between ternary Zn5Sb4In2-δ, Zn9Sb6In2 and binary Zn4Sb3 are discussed. To establish and understand structure-property relationships, thermoelectric properties measurements were carried out. The measurements suggested that Zn5Sb4In2-δ and Zn9Sb6In2 are narrow band gap semiconductors, similar to β-Zn4Sb3. Also, the peculiar low thermal conductivity of Zn4Sb3 (1 W/mK) is preserved. In the investigated temperature range 10 to 350 K Zn5Sb4In2-δ displays higher thermoelectric figure of merits than Zn4Sb3, indicating a potential significance in thermoelectric applications. Finally, the glass-like thermal conductivities of binary and ternary antimonides with complex structures are compared and the mechanism behind their low thermal conductivities is briefly discussed.
ContributorsWu, Yang (Author) / Häussermann, Ulrich (Thesis advisor) / Seo, Dong (Committee member) / Petuskey, William T (Committee member) / Newman, Nathan (Committee member) / Arizona State University (Publisher)
Created2011
Description
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