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- Genre: Doctoral Dissertation
- Creators: Bakkaloglu, Bertan
- Creators: Rogers, Rodney
Description
Research in fulfillment of the degree of Doctor of Musical Arts in performance has included CD recording projects, commissions of new pieces, as well as papers on existing pieces that push the performer beyond traditional playing by incorporating extended techniques, multimedia, technology, or movement. This study attempts to synthesize these ideas by commissioning a new work for clarinet and electronics that can be performed alone, combined with movement, or with an interactive video accompaniment. Primary work for this project has been the audio recording, music video, and live dance performance of the new work, entitled Agents of Espionage, which can be viewed at: http://www.youtube.com/watch?v=SAZ20kCb0Qg or http://www.youtube.com/watch?v=94- C7wWTeKs&context;=C4063fdcADvjVQa1PpcFPv1fBtuWcqgV638q_BRacH7 XWR-xy1B7A=. The entirety of the project, including creating the music, video, audio recordings, and dance was completed on a limited budget of under $500USD, using all student performers and creators. The accompanying written document outlines the various steps for completing each portion of the project, interviews with the artists involved, including Zachary Bramble, composer; Jason Mills, videographer; and Jacquelyn Achord, choreographer; and an analysis of the music from the performer's perspective. This paper should convey ideas about how future undertakings of this sort are possible. This work has been greatly inspired by Martin Fröst and his collaboration with Fredrik Hogberg on the piece The Invisible Duet.
ContributorsViliunas, Brian Bodo (Author) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Marshall, Kimberly (Committee member) / Schuring, Martin (Committee member) / Rogers, Rodney (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2012
Description
Biosensors aiming at detection of target analytes, such as proteins, microbes, virus, and toxins, are widely needed for various applications including detection of chemical and biological warfare (CBW) agents, biomedicine, environmental monitoring, and drug screening. Surface Plasmon Resonance (SPR), as a surface-sensitive analytical tool, can very sensitively respond to minute changes of refractive index occurring adjacent to a metal film, offering detection limits up to a few ppt (pg/mL). Through SPR, the process of protein adsorption may be monitored in real-time, and transduced into an SPR angle shift. This unique technique bypasses the time-consuming, labor-intensive labeling processes, such as radioisotope and fluorescence labeling. More importantly, the method avoids the modification of the biomarker’s characteristics and behaviors by labeling that often occurs in traditional biosensors. While many transducers, including SPR, offer high sensitivity, selectivity is determined by the bio-receptors. In traditional biosensors, the selectivity is provided by bio-receptors possessing highly specific binding affinity to capture target analytes, yet their use in biosensors are often limited by their relatively-weak binding affinity with analyte, non-specific adsorption, need for optimization conditions, low reproducibility, and difficulties integrating onto the surface of transducers. In order to circumvent the use of bio-receptors, the competitive adsorption of proteins, termed the Vroman effect, is utilized in this work. The Vroman effect was first reported by Vroman and Adams in 1969. The competitive adsorption targeted here occurs among different proteins competing to adsorb to a surface, when more than one type of protein is present. When lower-affinity proteins are adsorbed on the surface first, they can be displaced by higher-affinity proteins arriving at the surface at a later point in time. Moreover, only low-affinity proteins can be displaced by high-affinity proteins, typically possessing higher molecular weight, yet the reverse sequence does not occur. The SPR biosensor based on competitive adsorption is successfully demonstrated to detect fibrinogen and thyroglobulin (Tg) in undiluted human serum and copper ions in drinking water through the denatured albumin.
ContributorsWang, Ran (Author) / Chae, Junseok (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Tsow, Tsing (Committee member) / Goryll, Michael (Committee member) / Arizona State University (Publisher)
Created2015
Description
ABSTRACT
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
Improvisation, or extemporization, has always played an important role in all
genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition?
Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance.
To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world.
ContributorsBreadon, Thomas, Jr (Author) / Micklich, Albie (Thesis advisor) / Creviston, Christopher (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2015
Description
Biblical references play an important role in traditional programmatic music. Composers such as Kuhnau, Haydn, Liszt, Messiaen, and Bolcom produced considerable amounts of piano repertoire with biblical allusions: Musical Presentations of Some Biblical Stories in 6 Sonatas (1700) by Kuhnau, The Seven Last Words from Our Saviour on the Cross (1787) by Haydn, The Way of Cross (1878-1879) by Liszt, Twenty Contemplations on the Infant Jesus (1944) by Messiaen, and The Garden of Eden: Four Rags for Piano (1969) by Bolcom. The twentieth century American composers William Bergsma and Louis Weingarden participated in this tradition by producing piano pieces that contain direct biblical quotations. These works, which have received little attention, include two movements from Tangents (1951) by Bergsma and Triptych: Three Pieces for Piano (1969) by Weingarden.
This paper provides a comprehensive analysis of these piano works, considering structural, rhythmic, harmonic, and melodic elements. In particular, the paper examines Bergsma and Weingarden’s work through the technique of word painting in order to illuminate the relationship between the biblical text and music. Key findings include that Bergsma’s Tangents contains dissonant harmonies and irregular rhythms to reflect the agony of people on the biblical Judgement day, while the use of tonality reflects God’s love in other parts. Similarly, Weingarden uses an illustrative style of word painting in Triptych to closely reflect this biblical narrative and scene through the combination of some twelve-tone techniques with chromaticism. These works present a high degree of pianistic and musical elaboration that incorporates twentieth-century compositional techniques, and this paper argues that they merit more attention for recitals by college-level and professional pianists. This paper begins with an introduction which provides the methodological approach used in the paper and a biography of each composer. It then progresses to an analysis of Bergsma’s Tangents, followed by an analysis of Weingarden’s Triptych.
This paper provides a comprehensive analysis of these piano works, considering structural, rhythmic, harmonic, and melodic elements. In particular, the paper examines Bergsma and Weingarden’s work through the technique of word painting in order to illuminate the relationship between the biblical text and music. Key findings include that Bergsma’s Tangents contains dissonant harmonies and irregular rhythms to reflect the agony of people on the biblical Judgement day, while the use of tonality reflects God’s love in other parts. Similarly, Weingarden uses an illustrative style of word painting in Triptych to closely reflect this biblical narrative and scene through the combination of some twelve-tone techniques with chromaticism. These works present a high degree of pianistic and musical elaboration that incorporates twentieth-century compositional techniques, and this paper argues that they merit more attention for recitals by college-level and professional pianists. This paper begins with an introduction which provides the methodological approach used in the paper and a biography of each composer. It then progresses to an analysis of Bergsma’s Tangents, followed by an analysis of Weingarden’s Triptych.
ContributorsHwang, John Yoontae (Author) / Meir, Baruch (Thesis advisor) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2015
Description
This document offers composers a contextual reference and pragmatic overview
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
of the modern marimba. This guide is not designed as an orchestration text, suggesting ways to write for the instrument, rather, it illustrates through examination of well-known solo and chamber works how selected composers have effectively written for the instrument.
A guide for basic notation and examples of successful notation are included, as well as the basics of performer techniques. Samples of problematic, sometimes impossible passages are included to show the instruments and its performers' current limitations. The construction of the marimba and how it is tuned, a guide to mallets, and all of the current established extended techniques is also included. The majority of the information comes from the citation of established research on the marimba, composers and performers, and the author’s own experiences.
The intention of this document is two fold: to give composers who are unfamiliar with marimba a resource to begin composing for the instrument effectively, and for those composers who are familiar with the marimba it is designed to spark their creativity in an efficient and effective manner. The ultimate goal of this document is to create compositional momentum for marimba solo and chamber works and grow the repertoire, which is still in its infancy.
ContributorsMillea, Joseph Henry (Author) / Smith, Jeffrey B. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2015
Description
Internet of Things (IoT) has become a popular topic in industry over the recent years, which describes an ecosystem of internet-connected devices or things that enrich the everyday life by improving our productivity and efficiency. The primary components of the IoT ecosystem are hardware, software and services. While the software and services of IoT system focus on data collection and processing to make decisions, the underlying hardware is responsible for sensing the information, preprocess and transmit it to the servers. Since the IoT ecosystem is still in infancy, there is a great need for rapid prototyping platforms that would help accelerate the hardware design process. However, depending on the target IoT application, different sensors are required to sense the signals such as heart-rate, temperature, pressure, acceleration, etc., and there is a great need for reconfigurable platforms that can prototype different sensor interfacing circuits.
This thesis primarily focuses on two important hardware aspects of an IoT system: (a) an FPAA based reconfigurable sensing front-end system and (b) an FPGA based reconfigurable processing system. To enable reconfiguration capability for any sensor type, Programmable ANalog Device Array (PANDA), a transistor-level analog reconfigurable platform is proposed. CAD tools required for implementation of front-end circuits on the platform are also developed. To demonstrate the capability of the platform on silicon, a small-scale array of 24×25 PANDA cells is fabricated in 65nm technology. Several analog circuit building blocks including amplifiers, bias circuits and filters are prototyped on the platform, which demonstrates the effectiveness of the platform for rapid prototyping IoT sensor interfaces.
IoT systems typically use machine learning algorithms that run on the servers to process the data in order to make decisions. Recently, embedded processors are being used to preprocess the data at the energy-constrained sensor node or at IoT gateway, which saves considerable energy for transmission and bandwidth. Using conventional CPU based systems for implementing the machine learning algorithms is not energy-efficient. Hence an FPGA based hardware accelerator is proposed and an optimization methodology is developed to maximize throughput of any convolutional neural network (CNN) based machine learning algorithm on a resource-constrained FPGA.
This thesis primarily focuses on two important hardware aspects of an IoT system: (a) an FPAA based reconfigurable sensing front-end system and (b) an FPGA based reconfigurable processing system. To enable reconfiguration capability for any sensor type, Programmable ANalog Device Array (PANDA), a transistor-level analog reconfigurable platform is proposed. CAD tools required for implementation of front-end circuits on the platform are also developed. To demonstrate the capability of the platform on silicon, a small-scale array of 24×25 PANDA cells is fabricated in 65nm technology. Several analog circuit building blocks including amplifiers, bias circuits and filters are prototyped on the platform, which demonstrates the effectiveness of the platform for rapid prototyping IoT sensor interfaces.
IoT systems typically use machine learning algorithms that run on the servers to process the data in order to make decisions. Recently, embedded processors are being used to preprocess the data at the energy-constrained sensor node or at IoT gateway, which saves considerable energy for transmission and bandwidth. Using conventional CPU based systems for implementing the machine learning algorithms is not energy-efficient. Hence an FPGA based hardware accelerator is proposed and an optimization methodology is developed to maximize throughput of any convolutional neural network (CNN) based machine learning algorithm on a resource-constrained FPGA.
ContributorsSuda, Naveen (Author) / Cao, Yu (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Ozev, Sule (Committee member) / Yu, Shimeng (Committee member) / Seo, Jae-Sun (Committee member) / Arizona State University (Publisher)
Created2016
Description
Rail clamp circuits are widely used for electrostatic discharge (ESD) protection in semiconductor products today. A step-by-step design procedure for the traditional RC and single-inverter-based rail clamp circuit and the design, simulation, implementation, and operation of two novel rail clamp circuits are described for use in the ESD protection of complementary metal-oxide-semiconductor (CMOS) circuits. The step-by-step design procedure for the traditional circuit is technology-node independent, can be fully automated, and aims to achieve a minimal area design that meets specified leakage and ESD specifications under all valid process, voltage, and temperature (PVT) conditions. The first novel rail clamp circuit presented employs a comparator inside the traditional circuit to reduce the value of the time constant needed. The second circuit uses a dynamic time constant approach in which the value of the time constant is dynamically adjusted after the clamp is triggered. Important metrics for the two new circuits such as ESD performance, latch-on immunity, clamp recovery time, supply noise immunity, fastest power-on time supported, and area are evaluated over an industry-standard PVT space using SPICE simulations and measurements on a fabricated 40 nm test chip.
ContributorsVenkatasubramanian, Ramachandran (Author) / Ozev, Sule (Thesis advisor) / Bakkaloglu, Bertan (Committee member) / Cao, Yu (Committee member) / Kitchen, Jennifer (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
ContributorsJones, Jennifer E. (D.M.A.) (Author) / Kopta, Anne Elgar (Thesis advisor) / Mills, Robert (Committee member) / Rogers, Rodney (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2016
Description
The introduction of a new instrumental piece—specifically Taiwanese—into the cello repertoire is as exciting as it is important. Currently, the majority of works for cello and piano include predominantly Western compositions that is repeatedly taught and performed. Reflections, by Taiwanese composer Ming-Hsiu Yen (Ms. Yen) is a response to this saturation. It is a piece that is both demanding for the performers and entertaining for the audience. Brilliantly written by a composer who has intimate familiarity with both the cello and piano, it is highly suitable for scholarly study and performance.
This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions.
Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis.
Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye.
This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions.
Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis.
Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye.
ContributorsTseng, Yu-Ting (Author) / Landschoot, Thomas (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2016
Description
This paper explores the relationship of text and music in Dies Natalis by Gerald Finzi. Many of Gerald Finzi’s compositions have been researched and analyzed, but Dies Natalis, a work for high voice and string quartet, has received limited attention. The text is by Thomas Traherne, a lesser-known English poet and theologian. The research investigates textual interpretation and an explanation or a discussion of the religious mysticism of Traherne. After a biographical discussion of the composer and the poet, this paper provides a musical analysis, including a study of thematic and harmonic relationships in the work, and an examination of word painting and text setting. To facilitate my analysis, I used the piano reduction and not the string score for this project.
ContributorsMcKee, Marcy (Author) / Mills, Robert (Thesis advisor) / Rogers, Rodney (Committee member) / Hawkins, Gordon (Committee member) / Arizona State University (Publisher)
Created2016