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Description
Ketone levels give an insight into the bodies metabolism. People with epilepsy or people dieting may want to keep their levels high, whereas type one diabetics or those recovering from eating disorders may want to keep their levels low. Current ketone detection methods involve blood samples or urinalysis. A ketone (acetone) biosensor was fabricated to detect levels in human breath, providing a noninvasive way to quickly and accurately detect ketone levels in the body.
ContributorsHendricks, Asher (Author) / Forzani, Erica (Thesis director) / Osorio Perez, Oscar (Committee member) / Wang, Shaopeng (Committee member) / Barrett, The Honors College (Contributor) / Chemical Engineering Program (Contributor)
Created2023-05
Description
Energy Expenditure (EE) (kcal/day) is a key parameter used to guide obesity treatment, and it is often measured from CO2 production, VCO2 (mL/min), and/or O2 consumption, VO2 (mL/min) through the principles of indirect calorimetry. Current EE measurement technologies are limited due to the requirement of wearable facial accessories, which can introduce errors as measurements are not taken under free-living conditions. A novel contactless system, the SmartPad, which measures EE via VCO2 from a room’s ambient CO2 concentration transients was evaluated. First, SmartPad accuracy was validated by comparing the SmartPad’s EE and VCO2 measurements with the measurements of a reference instrument, the MGC Ultima CPXTM, in a cross-sectional study consisting of 20 subjects. A high correlation between the SmartPad’s EE and VCO2 measurements and the MGC Ultima CPX’s EE and VCO2 measurements was found, and the Bland-Altman plots contained a low mean bias for EE and VCO2 measurements. Thus, the SmartPad was validated as being accurate for VCO2 and EE measurements. Next, resting EE (REE) and exercise VCO2 measurements were recorded using the SmartPad and the MGC Ultima CPXTM at different operating CO2 threshold ranges to investigate the influence of measurement duration on system accuracy in an effort to optimize the SmartPad system. The SmartPad displayed 90% accuracy (±1 SD) for 14–19 min of REE measurement and for 4.8–7.0 min of exercise, using a known room’s air exchange rate. Additionally, the SmartPad was validated by accurately measuring subjects’ REE across a wide range of body mass indexes (BMI = 18.8 to 31.4 kg/m^2) with REEs ranging from ~1200 to ~3000 kcal/day. Lastly, the SmartPad has been used to assess the physical fitness of subjects via the “Contactless Thermodynamic Efficiency Test” (CTET).
ContributorsVictor, Shaun (Author) / Forzani, Erica (Thesis director) / Wang, Shaopeng (Committee member) / Barrett, The Honors College (Contributor) / Watts College of Public Service & Community Solut (Contributor) / Harrington Bioengineering Program (Contributor)
Created2022-05
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
Detection of molecular interactions is critical for understanding many biological processes, for detecting disease biomarkers, and for screening drug candidates. Fluorescence-based approach can be problematic, especially when applied to the detection of small molecules. Various label-free techniques, such as surface plasmon resonance technique are sensitive to mass, making it extremely challenging to detect small molecules. In this thesis, novel detection methods for molecular interactions are described.
First, a simple detection paradigm based on reflectance interferometry is developed. This method is simple, low cost and can be easily applied for protein array detection.
Second, a label-free charge sensitive optical detection (CSOD) technique is developed for detecting of both large and small molecules. The technique is based on that most molecules relevant to biomedical research and applications are charged or partially charged. An optical fiber is dipped into the well of a microplate. It detects the surface charge of the fiber, which does not decrease with the size (mass) of the molecule, making it particularly attractive for studying small molecules.
Third, a method for mechanically amplification detection of molecular interactions (MADMI) is developed. It provides quantitative analysis of small molecules interaction with membrane proteins in intact cells. The interactions are monitored by detecting a mechanical deformation in the membrane induced by the molecular interactions. With this novel method small molecules and membrane proteins interaction in the intact cells can be detected. This new paradigm provides mechanical amplification of small interaction signals, allowing us to measure the binding kinetics of both large and small molecules with membrane proteins, and to analyze heterogeneous nature of the binding kinetics between different cells, and different regions of a single cell.
Last, by tracking the cell membrane edge deformation, binding caused downstream event – granule secretory has been measured. This method focuses on the plasma membrane change when granules fuse with the cell. The fusion of granules increases the plasma membrane area and thus the cell edge expands. The expansion is localized at the vesicle release location. Granule size was calculated based on measured edge expansion. The membrane deformation due to the granule release is real-time monitored by this method.
First, a simple detection paradigm based on reflectance interferometry is developed. This method is simple, low cost and can be easily applied for protein array detection.
Second, a label-free charge sensitive optical detection (CSOD) technique is developed for detecting of both large and small molecules. The technique is based on that most molecules relevant to biomedical research and applications are charged or partially charged. An optical fiber is dipped into the well of a microplate. It detects the surface charge of the fiber, which does not decrease with the size (mass) of the molecule, making it particularly attractive for studying small molecules.
Third, a method for mechanically amplification detection of molecular interactions (MADMI) is developed. It provides quantitative analysis of small molecules interaction with membrane proteins in intact cells. The interactions are monitored by detecting a mechanical deformation in the membrane induced by the molecular interactions. With this novel method small molecules and membrane proteins interaction in the intact cells can be detected. This new paradigm provides mechanical amplification of small interaction signals, allowing us to measure the binding kinetics of both large and small molecules with membrane proteins, and to analyze heterogeneous nature of the binding kinetics between different cells, and different regions of a single cell.
Last, by tracking the cell membrane edge deformation, binding caused downstream event – granule secretory has been measured. This method focuses on the plasma membrane change when granules fuse with the cell. The fusion of granules increases the plasma membrane area and thus the cell edge expands. The expansion is localized at the vesicle release location. Granule size was calculated based on measured edge expansion. The membrane deformation due to the granule release is real-time monitored by this method.
ContributorsGuan, Yan (Author) / Tao, Nongjian (Thesis advisor) / LaBaer, Joshua (Committee member) / Goryll, Michael (Committee member) / Wang, Shaopeng (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
Surface plasmon resonance (SPR) has emerged as a popular technique for elucidating subtle signals from biological events in a label-free, high throughput environment. The efficacy of conventional SPR sensors, whose signals are mass-sensitive, diminishes rapidly with the size of the observed target molecules. The following work advances the current SPR sensor paradigm for the purpose of small molecule detection. The detection limits of two orthogonal components of SPR measurement are targeted: speed and sensitivity. In the context of this report, speed refers to the dynamic range of measured kinetic rate constants, while sensitivity refers to the target molecule mass limitation of conventional SPR measurement. A simple device for high-speed microfluidic delivery of liquid samples to a sensor surface is presented to address the temporal limitations of conventional SPR measurement. The time scale of buffer/sample switching is on the order of milliseconds, thereby minimizing the opportunity for sample plug dispersion. The high rates of mass transport to and from the central microfluidic sensing region allow for SPR-based kinetic analysis of binding events with dissociation rate constants (kd) up to 130 s-1. The required sample volume is only 1 μL, allowing for minimal sample consumption during high-speed kinetic binding measurement. Charge-based detection of small molecules is demonstrated by plasmonic-based electrochemical impedance microscopy (P-EIM). The dependence of surface plasmon resonance (SPR) on surface charge density is used to detect small molecules (60-120 Da) printed on a dextran-modified sensor surface. The SPR response to an applied ac potential is a function of the surface charge density. This optical signal is comprised of a dc and an ac component, and is measured with high spatial resolution. The amplitude and phase of local surface impedance is provided by the ac component. The phase signal of the small molecules is a function of their charge status, which is manipulated by the pH of a solution. This technique is used to detect and distinguish small molecules based on their charge status, thereby circumventing the mass limitation (~100 Da) of conventional SPR measurement.
ContributorsMacGriff, Christopher Assiff (Author) / Tao, Nongjian (Thesis advisor) / Wang, Shaopeng (Committee member) / LaBaer, Joshua (Committee member) / Chae, Junseok (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
Description
This study examines the effectiveness of various types of alternative resources in organ building in order to determine whether a change to more sustainable materials would benefit or hinder the overall sound production of the instrument. The qualities of the metals and woods currently used in organ production (e.g. lead, walnut, etc.) have been prized for centuries, so the substitution of different, more sustainable materials must be considered with regards to the sonic alterations, as well as the financial implications, of using alternatives to make the organ more “green.”
Five organ builders were interviewed regarding their views on sustainable materials. In addition, the author consulted the websites of nine national and four international organ builders for information about sustainability, indicating that each organ builder defines the term somewhat differently. Decisions on the woods and metals to be used in building or refurbishing an existing organ are based more on the visual appearance, the sound desired, and the potential for reuse of existing materials. A number of sustainability practices are currently in use by organ builders in the United States and Europe. These include the reuse of transportation boxes, efforts towards recycled metal and wood pipework, and the use of high efficiency lighting.
The investigations into sustainable practice that are presented here document a variety of approaches to sustainability in organ building in the United States, Canada and Europe. This research should assist in the evaluation of further efforts to conserve valuable resources while ensuring the high quality of sound that has characterized the organ throughout its long history.
Five organ builders were interviewed regarding their views on sustainable materials. In addition, the author consulted the websites of nine national and four international organ builders for information about sustainability, indicating that each organ builder defines the term somewhat differently. Decisions on the woods and metals to be used in building or refurbishing an existing organ are based more on the visual appearance, the sound desired, and the potential for reuse of existing materials. A number of sustainability practices are currently in use by organ builders in the United States and Europe. These include the reuse of transportation boxes, efforts towards recycled metal and wood pipework, and the use of high efficiency lighting.
The investigations into sustainable practice that are presented here document a variety of approaches to sustainability in organ building in the United States, Canada and Europe. This research should assist in the evaluation of further efforts to conserve valuable resources while ensuring the high quality of sound that has characterized the organ throughout its long history.
ContributorsGregoire, Jonathan M (Author) / Marshall, Kimberly (Thesis advisor) / Feisst, Sabine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014