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Description
Type Ia supernovae are important, but mysterious cosmological tools. Their standard brightnesses have enabled cosmologists to measure extreme distances and to discover dark energy. However, the nature of their progenitor mechanisms remains elusive, with many competing models offering only partial clues to their origins. Here, type Ia supernova delay times are explored using analytical models. Combined with a new observation technique, this model places new constraints on the characteristic time delay between the formation of stars and the first type Ia supernovae. This derived delay time (500 million years) implies low-mass companions for single degenerate progenitor scenarios. In the latter portions of this dissertation, two progenitor mechanisms are simulated in detail; white dwarf collisions and mergers. From the first of these simulations, it is evident that white dwarf collisions offer a viable and unique pathway to producing type Ia supernovae. Many of the combinations of masses simulated produce sufficient quantities of 56Ni (up to 0.51 solar masses) to masquerade as normal type Ia supernovae. Other combinations of masses produce 56Ni yields that span the entire range of supernova brightnesses, from the very dim and underluminous, with 0.14 solar masses, to the over-bright and superluminous, with up to 1.71 solar masses. The 56Ni yield in the collision simulations depends non-linearly on total system mass, mass ratio, and impact parameter. Using the same numerical tools as in the collisions examination, white dwarf mergers are studied in detail. Nearly all of the simulations produce merger remnants consisting of a cold, degenerate core surrounded by a hot accretion disk. The properties of these disks have strong implications for various viscosity treatments that have attempted to pin down the accretion times. Some mass combinations produce super-Chandrasekhar cores on shorter time scales than viscosity driven accretion. A handful of simulations also exhibit helium detonations on the surface of the primary that bear a resemblance to helium novae. Finally, some of the preliminary groundwork that has been laid for constructing a new numerical tool is discussed. This new tool advances the merger simulations further than any research group has done before, and has the potential to answer some of the lingering questions that the merger study has uncovered. The results of thermal diffusion tests using this tool have a remarkable correspondence to analytical predictions.
ContributorsRaskin, Cody (Author) / Scannapieco, Evan (Thesis advisor) / Rhoads, James (Committee member) / Young, Patrick (Committee member) / Mcnamara, Allen (Committee member) / Timmes, Francis (Committee member) / Arizona State University (Publisher)
Created2011
Description
The study of artist transcriptions is an effective vehicle for assimilating the language and style of jazz. Pairing transcriptions with historical context provides further insight into the back story of the artists' life and method. Innovators are often the subject of published studies of this kind, but transcriptions of plunger-mute master Al Grey have been overlooked. This document fills that void, combining historical context with thirteen transcriptions of Grey's trombone features and improvisations. Selection of transcribed materials was based on an examination of historically significant solos in Al Grey's fifty-five-year career. The results are a series of open-horn and plunger solos that showcase Grey's sound, technical brilliance, and wide range of dynamics and articulation. This collection includes performances from a mix of widely available and obscure recordings, the majority coming from engagements with the Count Basie Orchestra. Methods learned from the study of Al Grey's book Plunger Techniques were vital in the realization of his work. The digital transcription software Amazing Slow Downer by Roni Music aided in deciphering some of Grey's more complicated passages and, with octave displacement, helped bring previously inaudible moments to the foreground.
ContributorsHopkins, Charles E (Author) / Pilafian, Sam (Thesis advisor) / Stauffer, Sandra (Committee member) / Solís, Ted (Committee member) / Ericson, John (Committee member) / Kocour, Michael (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study examines the experiences of participants enrolled in an online community college jazz history course. I surveyed the participants before the course began and observed them in the online space through the duration of the course. Six students also participated in interviews during and after the course. Coded data from the interviews, surveys, and recorded discussion posts and journal entries provided evidence about the nature of interaction and engagement in learning in an online environment. I looked for evidence either supporting or detracting from a democratic online learning environment, concentrating on the categories of student engagement, freedom of expression, and accessibility. The data suggested that the participants' behaviors in and abilities to navigate the online class were influenced by their pre-existing native media habits. Participants' reasons for enrolling in the online course, which included convenience and schedule flexibility, informed their actions and behaviors in the class. Analysis revealed that perceived positive student engagement did not contribute to a democratic learning environment but rather to an easy, convenient experience in the online class. Finally, the data indicated that participants' behaviors in their future lives would not be affected by the online class in that their learning experiences were not potent enough to alter or inform their behavior in society. As online classes gain popularity, the ability of these classes to provide meaningful learning experiences must be questioned. Students in this online jazz history class presented, at times, a façade of participation and community building but demonstrated a lack of sincerity and interest in the course. The learning environment supported accessibility and freedom of expression to an extent, but students' engagement with their peers was limited. Overall, this study found a need for more research into the quality of online classes as learning platforms that support democracy, student-to-student interaction, and community building.
ContributorsHunter, Robert W. (Author) / Stauffer, Sandra L (Thesis advisor) / Tobias, Evan (Thesis advisor) / Bush, Jeffrey (Committee member) / Kocour, Michael (Committee member) / Pilafian, Sam (Committee member) / Arizona State University (Publisher)
Created2011
Description
There are many lines of evidence for anisotropy at all scales in the explosions of core collapse supernovae, e.g. visual inspection of the images of resolved supernova remnants, polarization measurements, velocity profiles, "natal kicks" of neutron stars, or spectroscopic observations of different regions of remnants. Theoretical stability considerations and detailed numerical simulations have shown that Rayleigh-Taylor (RT) instabilities arise in the star after the explosion, which leads to the early fragmentation of parts of the ejecta. The clumps thus created are of interest to a variety of topics, one of them being the formation environment of the solar system. There is a high probability that the solar system formed in the vicinity of a massive star that, shortly after its formation, exploded as a core collapse supernova. As argued in this thesis as well as other works, a core collapse supernova generally is a good candidate for chemically enriching the forming solar system with material. As forming proto--planetary systems in general have a high probability of being contaminated with supernova material, a method was developed for detecting tracer elements indicative supernova contamination in proto--planetary systems.The degree of the anisotropy of the supernova explosion can have dramatic effects on the mode of delivery of that material to the solar system, or proto--planetary systems in general. Thus it is of particular interest to be able to predict the structure of the supernova ejecta. Numerical simulations of the explosions of core collapse supernovae were done in 3 dimensions in order to study the formation of structure. It is found that RT instabilities result in clumps in the He- and C+O rich regions in the exploding star that are overdense by 1-2 orders of magnitude. These clumps are potential candidates for enriching the solar system with material. In the course of the further evolution of the supernova remnant, these RT clumps are likely to evolve into ejecta knots of the type observed in the Cassiopeia A supernova remnant.
ContributorsEllinger, Carola I (Author) / Young, Patrick A (Thesis advisor) / Desch, Steven J (Committee member) / Timmes, Francis (Committee member) / Scannapieco, Evan (Committee member) / Lunardini, Cecilia (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
The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.
ContributorsAmerind, Gregory (Author) / Kocour, Michael (Thesis advisor) / Carpenter, Ellon (Committee member) / Britton, David (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.
ContributorsKelly, Keith B (Author) / Stauffer, Sandra (Thesis advisor) / Tobias, Evan (Committee member) / Kocour, Michael (Committee member) / Sullivan, Jill (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
For this project, the diffuse supernova neutrino background (DSNB) has been calculated based on the recent direct supernova rate measurements and neutrino spectrum from SN1987A. The estimated diffuse electron antineutrino flux is ∼ 0.10 – 0.59 /cm2/s at 99% confidence level, which is 5 times lower than the Super-Kamiokande 2012 upper limit of 3.0 /cm2/s, above energy threshold of 17.3 MeV. With a Megaton scale water detector, 40 events could be detected above the threshold per year. In addition, the detectability of neutrino bursts from direct black hole forming collapses (failed supernovae) at Megaton detectors is calculated. These neutrino bursts are energetic and with short time duration, ∼ 1s. They could be identified by the time coincidence of N ≥2 or N ≥3 events within 1s time window from nearby (4 – 5 Mpc) failed supernovae. The detection rate of these neutrino bursts could get up to one per decade. This is a realistic way to detect a failed supernova and gives a promising method for studying the physics of direct black hole formation mechanism. Finally, the absorption of ultra high energy (UHE) neutrinos by the cosmic neutrino background, with full inclusion of the effect of the thermal distribution of the background on the resonant annihilation channel, is discussed. Results are applied to serval models of UHE neutrino sources. Suppression effects are strong for sources that extend beyond z ∼ 10. This provides a fascinating probe of the physics of the relic neutrino background in the unexplored redshift interval z ∼ 10 – 100. Ultimately this research will examine the detectability of DSNB, neutrino bursts from failed supernovae and absorption effects in the neutrino spectrum.
ContributorsYang, Lili, 1970- (Author) / Lunardini, Cecilia (Thesis advisor) / Alarcon, Ricardo (Committee member) / Shovkovy, Igor (Committee member) / Timmes, Francis (Committee member) / Vachaspati, Tanmay (Committee member) / Arizona State University (Publisher)
Created2013