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ITC/USA 2007 Conference Proceedings / The Forty-Third Annual International Telemetering Conference and Technical Exhibition / October 22-25, 2007 / Riviera Hotel & Convention Center, Las Vegas, Nevada / Meeting the filtering requirements for telemetry transmitters and receivers can be challenging. Telemetry systems use filters to eliminate unwanted spurious or mixing products. The use of tunable microwave filters for both L and S Band can improve filter selectivity and provide low insertion losses in the filter passband. Along with meeting specifications, these microwave filters with the ability to tune an octave, reduce size and cost by the reduction of multiple, fixed-frequency filters. As size, weight and power are often a concern with aeronautical telemetry systems, this paper will demonstrate that microstrip tunable filters can be small in size and use minimal power. Telemetry transmitters are subject to difficult spurious emission and interference specifications and require selective filters to eliminate spurious signals before the final amplification. Telemetry receivers on the other hand are subject to intense Image and Local Oscillator (LO) rejection requirements and demand low insertion loss for front-end filtering. Low insertion loss filtering before the Low Noise Amplifier (LNA) circuit limits degradation to the system noise figure (NF). By using different filter topologies and state-of-the-art, high-Q varactor diodes, tunable microwave filters can be optimized for two different functions. The two functions emphasize either low insertion loss or selectivity. An important design consideration with tunable filters, when compared to typical fixed frequency filters, is the degraded intermodulation performance. This is largely due to the non-linear behavior of the varactor diodes. This paper describes the benefits and limitations of microwave tunable filter architectures suitable for both aeronautical telemetry transmitters and telemetry receivers. Information on the computer modeling of varactor diodes will be covered as a critical part of the design. Potential design considerations for microwave tunable filters will also be covered. Through the use of simulation software and filter prototypes, this paper presents dramatically improved filter performance applicable to telemetry transmitters and receivers.

Evidence of bands at South Dakota State University can be found as early as 1886, only the second year of classes at the Land-Grant institution. From this grew what is known today as the “Pride of the Dakotas Marching Band.” The band was led by six different men over the first twenty-one years of its existence. A highlight of these early years was a trip to the 1904 World’s Fair in St. Louis, Missouri, under the direction of John Parmalee Mann. His successor, Francis J. Haynes, penned the music to the school’s alma mater, the Yellow and the Blue. In 1911, Carl “Christy” Christensen became Director of Bands, and did not relinquish the title for forty-three years. The highlight of “Christy’s” illustrious career was a trip to Winnipeg, Manitoba, Canada in 1939, in which the band performed for King George VI and Queen Consort Elizabeth. The band has carried on a rich tradition of high-profile performances. In 1962, the band, under the direction of Dr. Warren Hatfield, began a relationship with the National Football League’s Minnesota Vikings. For over twenty years, the band performed at their games, and many of these performances were broadcast to a national television audience. Under the leadership of John Colson and Gene Pollart, the band continued to grow and become known for their high-energy, entertaining, and skillful performances. Because of this reputation, the band, under the direction of Dr. Darwin Walker, earned an invitation to the 1981 Inaugural Parade of President Ronald Reagan. James McKinney led the band to the 1997 Inaugural Parade of President William Clinton, the 2000 Fourth of July Parade in Washington, D.C., and the 2003 and 2008 Tournament of Rose Parades. Since McKinney’s retirement, Eric Peterson, James Coull, and Kevin Kessler have each served as the director of the Pride. This document chronicles the history of the band from its origins to 2015.

This thesis creates a historical perspective of The University of Iowa Marching Band program, now known as the Hawkeye Marching Band (HMB). The HMB is the most visible ensemble in the School of Music, and it is one of the largest student groups at the University, upholding a tradition of excellence and rich history of more than one hundred years. However, very little has been written on its history and development. Therefore, this study fills a significant gap in the understanding of a time-honored organization, and it contributes to the growing scholarship of collegiate marching band programs and their collective evolution. Archival methods employed in the research process for this thesis included oral interviews with former and current University of Iowa band directors and thorough inspection of documents in the Special Collections at The University of Iowa main library. The University of Iowa Band Department records, as well as the personal archives of Lou Crist, Frederick C. Ebbs and David Henning were also inspected. Other materials researched consisted of an online alumni survey, digital and paper editions of The Daily Iowan, Press Citizen and Gazette newspapers, and The University of Iowa annual yearbooks. This study begins by highlighting the early growth of the band program that significantly impacted the future of the marching band. It also profiles each director from 1911 to the present day, and investigates the development of the band through consideration of various factors, including program size, staff structure, performance practices, operational procedures, institutional support, use of auxiliary units and significant performances. Thorough examination of the history of the Hawkeye Marching Band revealed several common themes: dedication to the preservation of tradition, innovations in terms of both style and presentation, and a commitment to student leadership and excellence. The Hawkeye Marching Band is a true symbol of The University of Iowa that has impacted thousands of lives in its 130-plus years of existence.

ITC/USA 2013 Conference Proceedings / The Forty-Ninth Annual International Telemetering Conference and Technical Exhibition / October 21-24, 2013 / Bally's Hotel & Convention Center, Las Vegas, NV / The need for increased downlink data rates and bandwidth for Earth Observation (EO) missions is driving mission planners to consider Ka-Band (25.5 to 27.0 GHz) downlinks to replace or augment the existing X-Band (8.025 to 8.400 GHz) services. Future ground stations will be required to support both bands as well as S-Band (2.0-2.3) GHz telemetry and command functions. This paper discusses the inherent tradeoffs in such a design, and proposes an implementation which permits simultaneous data reception in X-Band and Ka-Band, while providing TT&C functionality at S-Band. Analytical and measured data for the implementation are provided.

The purpose of this study is to provide a guide for conductors when evaluating issues of balance in works for chorus and symphonic band, and to assist them in realizing such works in performance. The principal focus of the document will be an analysis of vocal and instrumental textures in Requiem by Frigyes Hidas as they affect balance and textual clarity, using accompaniment types described by Hawley Ades as guides. The analysis shows that the scoring helps mitigate balance problems commonly found in other works scored for similar forces, making a variety of performance options and interpretations available to conductors. Ensemble issues are discussed as they relate to balance, as are practical solutions regarding stage setup.

Little is known about post-secondary band students' growth in musical independence, nor have the relationships between ensemble placement, year in school, gender, and instrument family been documented. Little research is available regarding the effects of instrument family (on which the student performs) or gender on the development of musical independence among music majors. Additionally, previous studies have identified a drop in music achievement test scores for college music majors as they progress from their freshman to sophomore or sophomore to junior years. This study attempts to address and evaluate these issues.The introduction presents a brief overview of the purpose and importance of the study. The review of related literature explores musical independence and the assessment of musical independence, as well as relationships between musical independence, ensemble placement, related listening skills, gender, and instrument family.Richard Colwell's Music Achievement Test 3 and Music Achievement Test 4 were administered to 354 band students at Ball State University, Florida State University, and Wichita State University. Test scores and demographic data including school, student identification number (usually a social security number), top ensemble in which the student participated (1st, 2nd, or 3rd), college major (music major or non-music major), year in school (freshman through graduate student), gender (male or female), and instrument family (woodwind, brass, or percussion) were collected. Data was entered into Statview II, a statistical analysis program for the Macintosh computer. Data was analyzed using ANOVA, Scheffe, and permutation analysis. Conclusions were drawn and recommendations for additional research were made. / School of Music

Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of several rhythmic strata whose pitches, mainly part of diatonic, octatonic or chromatic collections, followed the contour of the entered shape. With this visual process, it was also possible to explore the creation of contrapuntal textures by entering diagrams of lines representing the path of each contrapuntal voice.* / *This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.