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- All Subjects: Songs (High voice) with piano
Description
Current sensing ability is one of the most desirable features of contemporary current or voltage mode controlled DC-DC converters. Current sensing can be used for over load protection, multi-stage converter load balancing, current-mode control, multi-phase converter current-sharing, load independent control, power efficiency improvement etc. There are handful existing approaches for current sensing such as external resistor sensing, triode mode current mirroring, observer sensing, Hall-Effect sensors, transformers, DC Resistance (DCR) sensing, Gm-C filter sensing etc. However, each method has one or more issues that prevent them from being successfully applied in DC-DC converter, e.g. low accuracy, discontinuous sensing nature, high sensitivity to switching noise, high cost, requirement of known external power filter components, bulky size, etc. In this dissertation, an offset-independent inductor Built-In Self Test (BIST) architecture is proposed which is able to measure the inductor inductance and DCR. The measured DCR enables the proposed continuous, lossless, average current sensing scheme. A digital Voltage Mode Control (VMC) DC-DC buck converter with the inductor BIST and current sensing architecture is designed, fabricated, and experimentally tested. The average measurement errors for inductance, DCR and current sensing are 2.1%, 3.6%, and 1.5% respectively. For the 3.5mm by 3.5mm die area, inductor BIST and current sensing circuits including related pins only consume 5.2% of the die area. BIST mode draws 40mA current for a maximum time period of 200us upon start-up and the continuous current sensing consumes about 400uA quiescent current. This buck converter utilizes an adaptive compensator. It could update compensator internally so that the overall system has a proper loop response for large range inductance and load current. Next, a digital Average Current Mode Control (ACMC) DC-DC buck converter with the proposed average current sensing circuits is designed and tested. To reduce chip area and power consumption, a 9 bits hybrid Digital Pulse Width Modulator (DPWM) which uses a Mixed-mode DLL (MDLL) is also proposed. The DC-DC converter has a maximum of 12V input, 1-11 V output range, and a maximum of 3W output power. The maximum error of one least significant bit (LSB) delay of the proposed DPWM is less than 1%.
ContributorsLiu, Tao (Author) / Bakkaloglu, Bertan (Thesis advisor) / Ozev, Sule (Committee member) / Vermeire, Bert (Committee member) / Cao, Yu (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsGatchel, David Michael (Performer) / Rodriguez, Jasmine (Performer) / Fletcher, Olivia (Performer) / Chiko, Ty (Performer) / Barrett, Ellie (Performer) / ASU Library. Music Library (Publisher)
Created2021-02-20
ContributorsBates, Ashton (Performer) / Zhang, Dongfang (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-14
ContributorsBlake, Ethan (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-17
Discovering Puerto Rican art song: a research project on four art song works by Héctor Campos Parsi
Description
Puerto Rico has produced many important composers who have contributed to the musical culture of the nation during the last 200 years. However, a considerable amount of their music has proven to be difficult to access and may contain numerous errors. This research project intends to contribute to the accessibility of such music and to encourage similar studies of Puerto Rican music. This study focuses on the music of Héctor Campos Parsi (1922-1998), one of the most prominent composers of the 20th century in Puerto Rico. After an overview of the historical background of music on the island and the biography of the composer, four works from his art song repertoire are given for detailed examination. A product of this study is the first corrected edition of his cycles Canciones de Cielo y Agua, Tres Poemas de Corretjer, Los Paréntesis, and the song Majestad Negra. These compositions date from 1947 to 1959, and reflect both the European and nationalistic writing styles of the composer during this time. Data for these corrections have been obtained from the composer's manuscripts, published and unpublished editions, and published recordings. The corrected scores are ready for publication and a compact disc of this repertoire, performed by soprano Melliangee Pérez and the author, has been recorded to bring to life these revisions. Despite the best intentions of the author, the various copyright issues have yet to be resolved. It is hoped that this document will provide the foundation for a resolution and that these important works will be available for public performance and study in the near future.
ContributorsRodríguez Morales, Luis F., 1980- (Author) / Campbell, Andrew (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Kopta, Anne (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsYi, Joyce (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-22
ContributorsWasbotten, Leia (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-30
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
ContributorsKnutson, Dakota Rae (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-15
ContributorsKuebelbeck, Stephen (Contributor) / Smith, Aaron (Performer) / Mickelson, Brooke (Performer) / Farag, Mo (Performer) / Glomb, Lauren (Performer) / Ziervogel, JT (Performer) / ASU Library. Music Library (Publisher)
Created2021-04-01