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Description
Day-to-day decision makers on agricultural operations play a key role in maintaining both a sustainable and food secure agricultural society. This population, also defined as Principal Producers by the 2017 USDA Agricultural Census Report, has witnessed a significant decline in recent years, raising many questions surrounding why farmers are retiring faster than they can be replaced. To look closely at this phenomenon, this study focuses on the State of Ohio to hear first-hand from producers what they need to be successful through a series of semi-structured interviews. This study also maps recent changes in variables that define this issue from 2007-2017 using QGIS and USDA Agricultural Census data. The findings from this study show the recent decline of mid-sized agricultural operations and provide evidence linking declining rates of principal producer populations with specific features consistent with industrial agriculture. These findings are specific to the State of Ohio, but also raise much larger questions about which populations are experiencing more rapid rates of farm exit, and what implications these trends have for food security on a broader scale.
ContributorsMoore, Phillip (Author) / Chhetri, Nalini (Contributor) / Leonard, Bryan (Contributor) / Shrestha, Milan (Contributor)
Created2020
Description
An investigation is undertaken of a prototype building-integrated solar photovoltaic-powered thermal storage system and air conditioning unit. The study verifies previous thermodynamic and economic conclusions and provides a more thorough analysis. A parameterized model was created for optimization of the system under various conditions. The model was used to evaluate energy and cost savings to determine viability of the system in several circumstances, such as a residence in Phoenix with typical cooling demand. The proposed design involves a modified chest freezer as a thermal storage tank with coils acting as the evaporator for the refrigeration cycle. Surrounding the coils, the tank contains small containers of water for high-density energy storage submerged in a low freezing-point solution of propylene glycol. The cooling power of excess photovoltaic and off-peak grid power that is generated by the air conditioning compressor is stored in the thermal storage tank by freezing the pure water. It is extracted by pumping the glycol across the ice containers and into an air handler to cool the building. Featured results of the modeling include the determination of an optimized system for a super-peak rate plan, grid-connected Phoenix house that has a 4-ton cooling load and requires a corresponding new air conditioner at 4.5 kW of power draw. Optimized for the highest payback over a ten year period, the system should consist of a thermal storage tank containing 454 liters (120 gallons) of water, a 3-ton rated air conditioning unit, requiring 2.7 kW, which is smaller than conventionally needed, and no solar photovoltaic array. The monthly summer savings would be $45.The upfront cost would be $5489, compared to a conventional system upfront cost of $5400, for a payback period of 0.33 years. Over ten years, this system will provide $2600 of savings. To optimize the system for the highest savings over a twenty year period, a thermal storage tank containing 272 liters (72 gallons) of water, a 40-m2 photovoltaic array with 15% efficiency, and a 3.5-ton, 3.1-kW rated air conditioning unit should be installed for an upfront cost of $19,900. This would provide monthly summer savings of $225 and 1062 kWh grid electricity, with a payback period of only 11 years and a total cost savings of $12,300 over twenty years. In comparison, a system with the same size photovoltaic array but without storage would result in a payback period of 16 years. Results are also determined for other cooling requirements and installation sizes, such that the viability of this type of system in different conditions can be discussed. The use of this model for determining the optimized system configuration given different constraints is also described.
ContributorsMagerman, Beth Francine (Author) / Phelan, Patrick (Thesis director) / Goodnick, Stephen (Committee member) / Chhetri, Nalini (Committee member) / Barrett, The Honors College (Contributor) / School of Sustainability (Contributor) / Mechanical and Aerospace Engineering Program (Contributor)
Created2013-05
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
Small-scale fisheries are globally ubiquitous, employing more than 99% of the world’s fishers and providing over half of the world’s seafood. However, small-scale fisheries face many management challenges including declining catches, inadequate resources and infrastructure, and overcapacity. Baja California Sur, Mexico (BCS) is a region with diverse small-scale fisheries; these fisheries are intense, poorly regulated, and overlap with foraging hot spots of endangered sea turtles. In partnership with researchers, fishers, managers, and practitioners from Mexico and the United States, I documented bycatch rates of loggerhead turtles at BCS that represent the highest known megafauna bycatch rates worldwide. Concurrently, I conducted a literature review that determined gear modifications were generally more successful than other commonly used fisheries management strategies for mitigating bycatch of vulnerable megafauna including seabirds, marine mammals, and sea turtles. I then applied these results by partnering with researchers, local fishers, and Mexico’s federal fisheries science agency to develop and test two gear modifications (i.e. buoyless and illuminated nets) in operating net fisheries at BCS as potential solutions to reduce bycatch of endangered sea turtles, improve fisheries sustainability, and maintain fisher livelihoods. I found that buoyless nets significantly reduced mean turtle bycatch rates by 68% while maintaining target catch rates and composition. By contrast, illuminated nets did not significantly reduce turtle bycatch rates across day-night periods, although they reduced mean turtle bycatch rates by 50% at night. Illuminated nets, however, significantly reduced mean rates of total bycatch biomass by 34% across day-night periods while maintaining target fish catch and market value. I conclude with a policy analysis of the unilateral identification of Mexico by the U.S. State Department under section 610 of the Magnusson-Stevens Fishery Conservation and Management Act for failure to manage bycatch of loggerhead turtles at BCS. Taken together, the gear modifications developed and tested here represent promising bycatch mitigation solutions with strong potential for commercial adoption, but fleet-wide conversion to more selective and turtle-friendly gear (e.g. hook and line and/or traps) at BCS, coupled with coordinated international conservation action, is ultimately needed to eliminate sea turtle bycatch and further improve fisheries sustainability.
ContributorsSenko, Jesse (Author) / Smith, Andrew (Thesis advisor) / Boggess, May (Committee member) / Chhetri, Nalini (Committee member) / Jenkins, Lekelia (Committee member) / Minteer, Ben (Committee member) / Arizona State University (Publisher)
Created2015
Description
This paper provides a comprehensive study of Italian liturgical organ works from the 15th to 17th centuries. This music was composed for the Catholic Mass, and it demonstrates the development of Italian keyboard style and the incorporation of new genres into the organ Mass, such as a Toccata before the Mass, music for the Offertory, and the Elevation Toccata. This often neglected corpus of music deserves greater scholarly attention.
The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation.
Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.
This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists.
The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation.
Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo.
This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists.
ContributorsHolton Prouty, Kristin Michelle (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2015
Description
Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his cousin, the young Louis XIV. Organ builders, most notably Bernard Smith and Renatus Harris, brought new life to the instrument, drawing from their experience on the Continent to build larger instruments with colorful solo stops, offering more possibilities for performers and composers. Although relatively few notated organ works survive from the Restoration period, composers generated a niche body of organ repertoire exploring compositional genres inspired by late 17th-century English instruments.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.
ContributorsWhitten, Emma (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2014
Description
Without scientific expertise, society may make catastrophically poor choices when faced with problems such as climate change. However, scientists who engage society with normative questions face tension between advocacy and the social norms of science that call for objectivity and neutrality. Policy established in 2011 by the Intergovernmental Panel on Climate Change (IPCC) required their communication to be objective and neutral and this research comprised a qualitative analysis of IPCC reports to consider how much of their communication is strictly factual (Objective), and value-free (Neutral), and to consider how their communication had changed from 1990 to 2013. Further research comprised a qualitative analysis of structured interviews with scientists and non-scientists who were professionally engaged in climate science communication, to consider practitioner views on advocacy. The literature and the structured interviews revealed a conflicting range of definitions for advocacy versus objectivity and neutrality. The practitioners that were interviewed struggled to separate objective and neutral science from attempts to persuade, and the IPCC reports contained a substantial amount of communication that was not strictly factual and value-free. This research found that science communication often blurred the distinction between facts and values, imbuing the subjective with the authority and credibility of science, and thereby damaging the foundation for scientific credibility. This research proposes a strict definition for factual and value-free as a means to separate science from advocacy, to better protect the credibility of science, and better prepare scientists to negotiate contentious science-based policy issues. The normative dimension of sustainability will likely entangle scientists in advocacy or the appearance of it, and this research may be generalizable to sustainability.
ContributorsMcClintock, Scott (Author) / Van Der Leeuw, Sander (Thesis advisor) / Klinsky, Sonja (Committee member) / Chhetri, Nalini (Committee member) / Hannah, Mark (Committee member) / Arizona State University (Publisher)
Created2015
Description
During the months from June to November 2012, the city of Bangalore was faced with a serious solid waste management (SWM) crisis. In the wake of the upheaval, the state court declared source segregation to be mandatory. Yet, while the legislation was clear, the pathway towards a course of action for the transition was not clear and hence, Bangalore was stuck in a state of limbo. The objectives for this thesis spiraled organically from this crisis. The first objective was to examine the gaps in Bangalore's transition to a more sustainable SWM system. Six particular gaps were identified, which in essence, were opportunities to re-shape the system. The gaps identified included: conflicting political agendas, the exclusion of some key actors, and lack of adequate attention to cultural aspects, provision of appropriate incentives, protection of livelihoods and promotion of innovation. Opportunities were found in better incentivization of sustainable SWM goals, protecting livelihoods that depend on waste, enhancing innovation and endorsing local, context based SWM solutions. Building on this understanding of gaps, the second objective was to explore an innovative, local, bottom-up waste-management model called the Vellore Zero Waste Model, and assess its applicability to Bangalore. The adaptability of the model depended on several factors such as, willingness of actors to redefine their roles and change functions, ability of the municipality to assure quality and oversight, willingness of citizen to source segregate, and most importantly, the political will and collective action needed to ensure and sustain the transition. The role of communication as a vital component to facilitate productive stakeholder engagement and to promote role change was evident. Therefore, the third objective of the study was to explore how interpersonal competencies and communication strategies could be used as a tool to facilitate stakeholder engagement and encourage collective action. In addressing these objectives, India was compared with Austria because Austria is often cited as having some of the best SWM practices in the world and has high recycling rates to show for its reputation.
ContributorsRengarajan, Nivedita (Author) / Aggarwal, Rimjhim (Thesis advisor) / Chhetri, Nalini (Committee member) / Manuel-Navarrete, David (Committee member) / Arizona State University (Publisher)
Created2013
Description
The craft of improvisation at the organ has survived a long period of dormancy and is experiencing a strong resurgence in the twenty-first century. This project seeks to establish a precedence for the value of notated music as a resource in learning improvisation, and then, through music analysis, provide examples of how that process can develop. The result of the ideas presented here is a pathway whereby any disciplined organist can learn to imitate composed music, assimilate the musical ideas, and innovate through the act of spontaneous improvisation.
ContributorsHoward, Devon (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Kocour, Michael (Committee member) / Norton, Kay (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2012
Description
Nineteenth-century French organ builder Aristide Cavaillé-Coll and organist-composer César Franck established a foundation for the revival of organ music in France. Following the French Revolution, organ culture had degenerated because of the instrument's association with the church. Beginning with his instrument at St. Dénis, Cavaillé-Coll created a new symphonic organ that made it possible for composers to write organ music in the new Romantic aesthetic. In 1859, Franck received a new Cavaillé-Coll organ at the Parisian church where he served as organist, Sainte-Clotilde. He began experimenting with the innovations of this instrument: an expressive division, mechanical assists, new types of tone color, and an expanded pedal division. From about 1860, Franck began composing his first pieces for the Cavaillé-Coll organ; these were published in 1868 as the Six Pièces. With these compositions, Franck led the way in adapting the resources of the French symphonic organ to Romantic music. In this paper, I provide an analysis of the structure of each of the Six Pièces as a foundation for exploring ways in which Franck exploited the new features of his Cavaillé-Coll organ. I have made sound recordings to demonstrate specific examples of how the music fits the organ. Thanks to Cavaillé-Coll's innovations in organ building, Franck was able to write large-scale, multi-thematic works with the sonorous resources necessary to render them convincingly. The Six Pièces reveal a strong creative exchange between organist and organ builder, and they portend many of the subsequent developments of the French symphonic organ school.
ContributorsSung, Anna (Author) / Marshall, Kimberly (Thesis advisor) / Ryan, Russell (Committee member) / Rogers, Rodney (Committee member) / Pagano, Caio (Committee member) / Arizona State University (Publisher)
Created2012