Matching Items (129)
Filtering by
- Creators: Chakrabarti, Chaitali
- Member of: ASU Electronic Theses and Dissertations
Description
Process variations have become increasingly important for scaled technologies starting at 45nm. The increased variations are primarily due to random dopant fluctuations, line-edge roughness and oxide thickness fluctuation. These variations greatly impact all aspects of circuit performance and pose a grand challenge to future robust IC design. To improve robustness, efficient methodology is required that considers effect of variations in the design flow. Analyzing timing variability of complex circuits with HSPICE simulations is very time consuming. This thesis proposes an analytical model to predict variability in CMOS circuits that is quick and accurate. There are several analytical models to estimate nominal delay performance but very little work has been done to accurately model delay variability. The proposed model is comprehensive and estimates nominal delay and variability as a function of transistor width, load capacitance and transition time. First, models are developed for library gates and the accuracy of the models is verified with HSPICE simulations for 45nm and 32nm technology nodes. The difference between predicted and simulated σ/μ for the library gates is less than 1%. Next, the accuracy of the model for nominal delay is verified for larger circuits including ISCAS'85 benchmark circuits. The model predicted results are within 4% error of HSPICE simulated results and take a small fraction of the time, for 45nm technology. Delay variability is analyzed for various paths and it is observed that non-critical paths can become critical because of Vth variation. Variability on shortest paths show that rate of hold violations increase enormously with increasing Vth variation.
ContributorsGummalla, Samatha (Author) / Chakrabarti, Chaitali (Thesis advisor) / Cao, Yu (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Arizona State University (Publisher)
Created2011
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 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
Description
Delirium is a piece for large wind ensemble that synthesizes compositional techniques to generate unique juxtapositions of contrasting musical elements. The piece is about 8:30 long and uses the full complement of winds, brass, and percussion. Although the composition begins tonally, chromatic alterations gradually shift the melodic content outside of the tonal center. In addition to changes in the melody, octatonic, chromatic, and synthetic scales and quartal and quintal harmonies are progressively introduced throughout the piece to add color and create dissonance. Delirium contains four primary sections that are all related by chromatic mediant. The subdivisions of the first part create abrupt transitions between contrasting material, evocative of the symptoms of delirium. As each sub-section progresses, the A minor tonality of the opening gradually gives way to increased chromaticism and dissonance. The next area transitions to C minor and begins to feature octatonic scales, secundal harmonies, and chromatic flourishes more prominently. The full sound of the ensemble then drops to solo instruments in the third section, now in G# minor, where the elements of the previous section are built upon with the addition of synthetic scales and quartal harmonies. The last division, before the recapitulation of the opening material, provides a drastic change in atmosphere as the chromatic elements from before are removed and the tense sound of the quartal harmonies are replaced with quintal sonorities and a more tonal melody. The tonality of this final section is used to return to the opening material. After an incomplete recapitulation, the descending motive that is used throughout the piece, which can be found in measure 61 in the flutes, is inverted and layered by minor 3rds. This inverted figure builds to the same sonority found in measure138, before ending on an F# chord, a minor third away from the A minor tonal center of the opening and where the piece seems like it should end.
ContributorsBell, Jeremy, 1986- (Composer) / Rogers, Rodney (Thesis advisor) / Oldani, Robert (Committee member) / Levy, Benjamin (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
Redundant Binary (RBR) number representations have been extensively used in the past for high-throughput Digital Signal Processing (DSP) systems. Data-path components based on this number system have smaller critical path delay but larger area compared to conventional two's complement systems. This work explores the use of RBR number representation for implementing high-throughput DSP systems that are also energy-efficient. Data-path components such as adders and multipliers are evaluated with respect to critical path delay, energy and Energy-Delay Product (EDP). A new design for a RBR adder with very good EDP performance has been proposed. The corresponding RBR parallel adder has a much lower critical path delay and EDP compared to two's complement carry select and carry look-ahead adder implementations. Next, several RBR multiplier architectures are investigated and their performance compared to two's complement systems. These include two new multiplier architectures: a purely RBR multiplier where both the operands are in RBR form, and a hybrid multiplier where the multiplicand is in RBR form and the other operand is represented in conventional two's complement form. Both the RBR and hybrid designs are demonstrated to have better EDP performance compared to conventional two's complement multipliers. The hybrid multiplier is also shown to have a superior EDP performance compared to the RBR multiplier, with much lower implementation area. Analysis on the effect of bit-precision is also performed, and it is shown that the performance gain of RBR systems improves for higher bit precision. Next, in order to demonstrate the efficacy of the RBR representation at the system-level, the performance of RBR and hybrid implementations of some common DSP kernels such as Discrete Cosine Transform, edge detection using Sobel operator, complex multiplication, Lifting-based Discrete Wavelet Transform (9, 7) filter, and FIR filter, is compared with two's complement systems. It is shown that for relatively large computation modules, the RBR to two's complement conversion overhead gets amortized. In case of systems with high complexity, for iso-throughput, both the hybrid and RBR implementations are demonstrated to be superior with lower average energy consumption. For low complexity systems, the conversion overhead is significant, and overpowers the EDP performance gain obtained from the RBR computation operation.
ContributorsMahadevan, Rupa (Author) / Chakrabarti, Chaitali (Thesis advisor) / Kiaei, Sayfe (Committee member) / Cao, Yu (Committee member) / Arizona State University (Publisher)
Created2011
Description
Genomic and proteomic sequences, which are in the form of deoxyribonucleic acid (DNA) and amino acids respectively, play a vital role in the structure, function and diversity of every living cell. As a result, various genomic and proteomic sequence processing methods have been proposed from diverse disciplines, including biology, chemistry, physics, computer science and electrical engineering. In particular, signal processing techniques were applied to the problems of sequence querying and alignment, that compare and classify regions of similarity in the sequences based on their composition. However, although current approaches obtain results that can be attributed to key biological properties, they require pre-processing and lack robustness to sequence repetitions. In addition, these approaches do not provide much support for efficiently querying sub-sequences, a process that is essential for tracking localized database matches. In this work, a query-based alignment method for biological sequences that maps sequences to time-domain waveforms before processing the waveforms for alignment in the time-frequency plane is first proposed. The mapping uses waveforms, such as time-domain Gaussian functions, with unique sequence representations in the time-frequency plane. The proposed alignment method employs a robust querying algorithm that utilizes a time-frequency signal expansion whose basis function is matched to the basic waveform in the mapped sequences. The resulting WAVEQuery approach is demonstrated for both DNA and protein sequences using the matching pursuit decomposition as the signal basis expansion. The alignment localization of WAVEQuery is specifically evaluated over repetitive database segments, and operable in real-time without pre-processing. It is demonstrated that WAVEQuery significantly outperforms the biological sequence alignment method BLAST for queries with repetitive segments for DNA sequences. A generalized version of the WAVEQuery approach with the metaplectic transform is also described for protein sequence structure prediction. For protein alignment, it is often necessary to not only compare the one-dimensional (1-D) primary sequence structure but also the secondary and tertiary three-dimensional (3-D) space structures. This is done after considering the conformations in the 3-D space due to the degrees of freedom of these structures. As a result, a novel directionality based 3-D waveform mapping for the 3-D protein structures is also proposed and it is used to compare protein structures using a matched filter approach. By incorporating a 3-D time axis, a highly-localized Gaussian-windowed chirp waveform is defined, and the amino acid information is mapped to the chirp parameters that are then directly used to obtain directionality in the 3-D space. This mapping is unique in that additional characteristic protein information such as hydrophobicity, that relates the sequence with the structure, can be added as another representation parameter. The additional parameter helps tracking similarities over local segments of the structure, this enabling classification of distantly related proteins which have partial structural similarities. This approach is successfully tested for pairwise alignments over full length structures, alignments over multiple structures to form a phylogenetic trees, and also alignments over local segments. Also, basic classification over protein structural classes using directional descriptors for the protein structure is performed.
ContributorsRavichandran, Lakshminarayan (Author) / Papandreou-Suppappola, Antonia (Thesis advisor) / Spanias, Andreas S (Thesis advisor) / Chakrabarti, Chaitali (Committee member) / Tepedelenlioğlu, Cihan (Committee member) / Lacroix, Zoé (Committee member) / Arizona State University (Publisher)
Created2011
Description
Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement.
ContributorsFang, Zhou, D.M.A (Author) / Koonce, Frank (Thesis advisor) / Levy, Benjamin (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2013
Description
In this work, we present approximate adders and multipliers to reduce data-path complexity of specialized hardware for various image processing systems. These approximate circuits have a lower area, latency and power consumption compared to their accurate counterparts and produce fairly accurate results. We build upon the work on approximate adders and multipliers presented in [23] and [24]. First, we show how choice of algorithm and parallel adder design can be used to implement 2D Discrete Cosine Transform (DCT) algorithm with good performance but low area. Our implementation of the 2D DCT has comparable PSNR performance with respect to the algorithm presented in [23] with ~35-50% reduction in area. Next, we use the approximate 2x2 multiplier presented in [24] to implement parallel approximate multipliers. We demonstrate that if some of the 2x2 multipliers in the design of the parallel multiplier are accurate, the accuracy of the multiplier improves significantly, especially when two large numbers are multiplied. We choose Gaussian FIR Filter and Fast Fourier Transform (FFT) algorithms to illustrate the efficacy of our proposed approximate multiplier. We show that application of the proposed approximate multiplier improves the PSNR performance of 32x32 FFT implementation by 4.7 dB compared to the implementation using the approximate multiplier described in [24]. We also implement a state-of-the-art image enlargement algorithm, namely Segment Adaptive Gradient Angle (SAGA) [29], in hardware. The algorithm is mapped to pipelined hardware blocks and we synthesized the design using 90 nm technology. We show that a 64x64 image can be processed in 496.48 µs when clocked at 100 MHz. The average PSNR performance of our implementation using accurate parallel adders and multipliers is 31.33 dB and that using approximate parallel adders and multipliers is 30.86 dB, when evaluated against the original image. The PSNR performance of both designs is comparable to the performance of the double precision floating point MATLAB implementation of the algorithm.
ContributorsVasudevan, Madhu (Author) / Chakrabarti, Chaitali (Thesis advisor) / Frakes, David (Committee member) / Gupta, Sandeep (Committee member) / Arizona State University (Publisher)
Created2013