Growing concern over adverse health effects from low level lead exposure motivated reassessment of lead occurrence in drinking water, from the perspective of 1) possibly eliminating lead from new brass materials, and 2) performance testing of existing products. During the course of this thesis work, it was discovered that several cases of childhood lead poisoning in North Carolina, South Carolina and Washington D.C. occurred from contaminated potable water. That disconcerting finding prompted additional work into 3) deficiencies in existing lead testing of drinking water samples, and 4) impacts of water treatment steps on lead leaching. Meters, components, and fittings manufactured from non-leaded brass (< 0.25 percent lead content) are increasingly specified for use in water distribution systems and premise plumbing, in response to California's Proposition 65 and the proposed Lead Free Drinking Water Act. An in-depth review of the available literature revealed that non-leaded brass releases minimal amounts of lead and other contaminants of concern to drinking water. There is legitimate concern about the corrosion resistance and longevity of these non-leaded alloys in the range of waters that will be encountered in practice. Nonetheless, when the potential impacts to manufacturers, utilities and consumers are considered, non-leaded brasses appear to be attractive albeit at slightly higher cost. For existing leaded brass products, concerns have been raised over potential limitations of performance standards used to certify the products as "safe" in the marketplace. The ANSI/NSF 61 Section 9 test is the industry standard, and its protocol is critically evaluated from the perspective of the leaching solution chemistry. Testing indicated that the protocol water is reasonably representative of a typical water supply. However, some lower pH and lower alkalinity waters can be much more aggressive than the existing section 9 water, and for potable water with these characteristics, problems with higher than desired lead leaching may occur. It may be desirable to tighten the standard's pass/fail lead criterion in order to account for this problem in practice. Several cases of childhood lead poisoning from water have been recently encountered, which prompted environmental assessments. It was visually obvious that some of the lead particles ingested by these children, present in water from the tap, were not completely dissolving in the standard method with weak acid recommended by the US EPA. A laboratory investigation proved that up to 80% particulate lead in water samples could be "missed" by the standard protocol. Unfortunately, tests with simulated gastric fluid revealed that much of this particulate lead would be bioavailable in the presence of chloride, warmer temperatures and lower pH inside the human stomach. It is recommended that water utilities be alert to this possible problem and that environmental assessments of lead poisoned children use stronger digestions to detect lead in water. Several of the lead poisoning instances occurred after the utility changed both disinfectant chemicals (from chlorine to chloramine) and coagulant types. Although authorities initially thought chloramine was the cause based on experiences in Washington D.C., bench scale studies in this work proved that a change in coagulant from aluminum sulfate to either ferric chloride or polyaluminum chloride was in fact the main reason of the lead spikes. The reduction in sulfate and increase in chloride increased the chloride to sulfate mass ratio of the water supply. A higher chloride to sulfate mass ratio triggered much higher (2.3-40 times more) lead leaching from solder connected to copper pipe. The adverse effects of the increase in the ratio could not be eliminated by adding a corrosion inhibitor. / Master of Science

An examination of the musical style, compositional techniques and performance practice issues of American composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer.

O presente trabalho investiga o comportamento da chapa de latão C268, com 0,50 mm de espessura, quando exposto ao processo de Estampagem Incremental de Chapas de Metal (Incremental Sheet Metal Forming -ISMF). Especificamente para a pesquisa, foram utilizadas as modalidades de Estampagem Incremental com Ponto Simples (Single Point Incremental Forming- SPIF) e Estampagem Incremental de Múltiplos Passes (Multi Pass Single Point Incremental Forming- MSPIF). Os experimentos foram baseados em uma geometria de tronco de pirâmide de base quadrada com 100 mm de lado e 45 mm de profundidade. Para as estratégias de estampagem foi atribuído, a estampagem helicoidal. Como resultado principal, foi verificado o ângulo de parede máximo atingido por cada processo de estampagem incremental. Adicionalmente, ensaios de tração, análise de deformações e de rugosidade da chapa de latão foram realizados. Todos os seus resultados estão detalhados na investigação. Para os parâmetros adotados nestes experimentos, o ângulo de parede obtido por SPIF foi maior do que pelo estudo proposto por MSPIF. / The present study investigates the performance of the brass plate C-268 with 0.50 mm thickness, when exposed to Incremental Sheet Metal Forming (ISMF). Specifically for research, it was used the modalities Single Point Incremental Forming (SPIF) and Multi Pass Single Point Incremental Forming (MSPIF). The experiments were based on a truncated pyramid geometry with square base 100 mm side and 45 mm depth. For forming strategies has been assigned, the helical forming. As the main outcome, it was found the maximum wall angle achieved by each process of incremental printing. In addition, tensile tests, analysis of deformation and roughness of the brass sheet were performed. All results are detailed in the investigation. For the parameters used in these experiments, the wall angle obtained by SPIF is greater than the study proposed by MSPIF.

This thesis looks at the capabilities of cutting thin webs on Wire EDM machines that are difficult or impossible to machine using conventional methods. Covered is an investigation of how different material and web thickness affect the capability of machining thin-walled parts. Five different metals are used for the test; Aluminum 6061 T6, Yellow Brass SS360, 420 Stainless Steel, D2 unheat-treated tool steel 25-30 RC, and D2 heat-treated tool steel 60-65 RC. The small parts were cut to a 6mm (0.2362 inch) height with six different wall thicknesses: 0.30mm (0.0118 inch), 0.25mm (0.0098 inch), 0.20mm (0.0078 inch), 0.15mm (0.0059 inch), 0.10mm (0.0039 inch), and 0.05mm (0.0020 inch). A Sodick AQ325L Wire EDM machine was utilized for testing. The methods employed during the study include the following: • Machine settings and offsets were limited to the default setting selected from the Sodick AQ325L database. • Two different pre-test cuts were taken on the material to check for web bending during the cutting process. • Hardness was tested for comparison of the web heights. This thesis shows that bending increased as webs became thinner and that bending occurred toward the wire as the second side of the web was cut. Bending does affect the height of the web. Physical properties of materials also impacted the height of the web with the hardest material staying intact during the cutting process. This study shows that two factors, physical properties of materials and web thickness, significantly affect cutting results for thin web parts.

<p>This study is based on discussions among Swedish brass teachers about teaching other brass instruments than their main instrument. Why do some choose to teach only with the help of their main instrument while others use their secondary instruments as well? What are the advantages and disadvantages and how do they look upon other ways of thinking in this matter?</p><p>In addition, the study examines brass teachers’ views on the balance between pedagogical and instrumental skill, as well as their views on teaching sound, technique and expression in relation to the age of the student.</p><p>A questionnaire was used and anwered by 24 teachers with teaching experience in municipal music schools ranging from 7 months to 35 years. The results indicate that pedagogical skill is always important, whereas the importance of instrumental skill increases as the student gets older and more experienced. The advantage of teaching with the help of the main instrument is that one always keeps a high musical and technical level. However, the advantage of always using the instrument taught is that the student gets the right sound ideal. Sound, technique and expression all become more and more important as the student progresses. According to the survey, sound is regarded as the most important thing to work with on all levels, followed by technique and last, expression.</p><p>The main part of the study is seen from a teacher perspective, however some student opinions are also included.</p>

<p>The local wind band in Lilla Edet, <em>Lilla Edets Musikförening</em>, springs from work and activities in the late 19:th century. Since then, the band has developed from a brass sextet to mixed wind band. It has been an appreciated contribution to the society on festive occasions. Yet, it seems like the band more and more has lost it´s useful purpose. Also, the recruiting of new members has ceased, as the music school has trouble with attracting pupils to learn to play wind instruments.</p><p>The reasons for this reduced interest are more then one. One aspect can be lack of atten-tion to the genre in music education, both in the music school and in the regular school. It may also be due to the media not showing enough of the wind music. That this genre, in many purposes, has been replaced by today´s popular music also makes the average Swede unaware of it´s qualities.</p><p>There are, however, places where the wind music tradition is stronger. This can, for example, come from special wind instrument education at an early age. It can also be due to the local band playing a prominent part in the society.</p><p>To help a languishing band activity, the band itself must cooperate with the music school and the society. All parts must do what they can to make sure the business stays alive.</p> / <p>Lilla Edets Musikförening har sitt ursprung ur föreningslivet i slutet av 1800-talet. Musik-kåren har sedan dess utvecklats från mässingssextett till blandad blåsorkester. Den har uppskattats och haft sin givna plats vid högtider i, och i många fall utanför, kommunen. Dock har musikföreningens funktion i samhället med åren successivt blivit mindre befintlig. Därtill har rekryteringen av nya medlemmar avstannat, i takt med att musikskolan lockar färre och färre elever till att spela blåsinstrument.</p><p>Anledningarna till detta minskande blåsmusikintresse kan dels vara brist på uppmärksamhet på genren i musikundervisningen, både i musikskolan och i den vanliga skolan, dels kan det vara att blåsmusiken syns för lite i media. Att blåsmusiken, som underhållnings- och funktionsmusik, ersatts av dagens populärmusik, gör också att kunskapen om blåsmusiken är liten hos medelsvensken.</p><p>Dock finns platser där blåsmusiktraditionen är starkare. Detta kan t.ex. komma sig av att man satsar på särskild blåsundervisning i tidig ålder, eller att musikkårsverksamheten har en väldigt framträdande och självklar roll i samhället.</p><p>För att en tynande musikkårsverksamhet ska överleva krävs insatser från både musikkåren själv, musikskolan och kommunen. Alla parter måste samverka och vara beredda att satsa för att trygga verksamhetens framtid.</p>

Layered crystals with magnetic elements as Co and Fe have been studied. In TlCo2Se2, where Co atoms in one sheet are separated by Tl and Se from the next Co sheet, magnetic interaction within and between the sheets have been studied. Samples doped with 4% 57Fe replaced Co, show a magnetic spiral character with hyperfine fields in a flower shape in the ab-plane. The magnetic moment of 0.46 μB per Co atom derived from the average field is in good agreement with the result from neutron diffraction. In TlCu1.73Fe0.27Se2 the easy axis of magnetisation is the c-axis. The magnetic moment calculated from the Mössbauer data and SQUID magnetrometry is 0.97 μB per Fe atom with TC = 55(5) K. Multilayers of different elements have been studied. The effect of vanadium atoms on iron atoms at the interface of FeNi/V multilayers has been determined and the intermixing at the interface has been calculated to be 2-3 monolayers. For FeNi/Co 1/1 monolayer the magnetic hyperfine field (Bhf) is 45° out-of-plane, while for superlattices containing 2 to 5 monolayers it is in the plane. An study on Fe/Co superlattice were done by experimental, theoretical and simulational methods. The Bhf is highest for the Fe at the second layer next to the interface and gets the bulk value in the centre of thicker Fe layers. Studied magnetic nanoparticles coated with a lipid bilayer (magnetoliposomes) are found to have the magnetite structure but being non-stoichiometric as a result of the manufacturing process. The composition was approximately 32% γ-Fe2O3 and 68% Fe3O4. The oxidation evolution and its effect on magnetic properties of Fe clusters were also studied by means of different techniques. The extraction and insertion mechanism of lithium in the cathode material Li2FeSiO4 has been monitored by in situ x-ray diffraction and Mössbauer spectroscopy during the first two cycles. The relative amount of Fe+3/ Fe+2 at each end state was in good agreement with the results obtained from electrochemical measurements. A possible explanation to the observed lowering of the potential plateau from 3.10 to 2.80 V occurring during the first cycle, involves a structural rearrangement process in which some of the Li ions and the Fe ions are interchanged. The behaviour of small amounts of Fe in brass is investigated using Mössbauer spectroscopy. It was shown that a heat treatment can increase the amount of the precipitates of γ-Fe and ~650° C is the optimal treatment for having the highest amount of this phase.

It is well known that texture and microstructure play a crucial role in determining properties of metallic materials. The evolution of microstructure and texture during deformation and annealing of copper and some copper base alloys have been investigated to some extent. However, the knowledge about the role of the mode of deformation, particularly different variants of rolling deformation, is still very limited for deformation and annealing texture of two-phase copper alloys. Therefore it appeared important to study the influence of deformation path (in the present case, mode of rolling) on texture and microstructure in two-phase copper alloy Cu-40Zn alloy. Hot rolled bar of Cu-40Zn alloy (as-received material) was subjected to unidirectional and cross rolling ( multi-step cross-rolling) at room temperature with strain per pass (true strain) being constant for each step. In multi-step cross-rolling, the rolling direction was altered (rotated by 90°)after each pass. Strains corresponding to rolling reduction of 50% and 80% were given to as-received material through each of the different mode of rolling. In a second route, the as-received material was solution treated at 800°C for 4 hours first and then subjected to rolling in the same manner as above. A piece was cut from each of the as-rolled materials and was subjected to annealing at 560°C for one hour for recrystallization. The bulk textures were determined by measuring the pole figures at the center of the rolled as well as the annealed specimen using X-ray texture goniometer based on Schultz reflection geometry. Three dimensional texture analyses were carried out using the method of orientation distribution function(ODF). Micro-textures and associated microstructural parameters were determined using a Field Emission Gun Scanning Electron Microscope(FEG-SEM) operated at 20KV, equipped with Electron back scattering detector(EBSD). In the experimental material, texture was examined for both the α (fcc) and the β (ordered cubic) phases. In the present investigation, α phase of unidirectional rolled as-received material had Bs {011}<112> orientation as the strongest component whereas for multi-step cross rolled material P(BND) {011}<111> orientation had the maximum intensity, which could be obtained by rotating the Bs orientation and about ND.The texture development of β phase of as-received unidirectional rolled sample could be understood in terms of relaxed constraints Taylor model. The initial texture had a pronounced effect on texture development of α phase for solution treated alloy during deformation. This material exhibited very strong P(BND) {011}<111> orientation for unidirectional as well as for multi-step cross rolling. For cross rolled alloys, this orientation is promoted by two factors simultaneously, (i) initial texture and (ii) special attributes of cross rolling process. The volume fraction of cube oriented grains was very low for all recrystallized samples because of dominance of Bs orientation in the deformation texture plus formation of shear bands in the microstructure. The texture of β phase for unidirectionally rolled solution treated alloy got sharpened on annealing. However, strength of texture decreased with increasing deformation. Grain boundary (and CSL boundary) analyses were carried out with EBSD data. These analyses indicated that all the recrystallized samples had a high number of Σ3 boundaries. The proportion of Σ3 boundaries was higher in multi-step cross-rolled annealed material. The deformed material had higher number fraction of low angle boundary than any other special boundary. Solution treated material had an average grain size of α phase smaller than the as-received material. Another dimension of the present investigation was to characterize the microstructural features in three dimension(3D) in order to examine the morhphology of constituent phases using serial sectioning. In the present work, 3D studies were carried out on the alloy after post deformation annealing. The alignment of serial section images and generation of 3D image out of the stack of 2D images was carried out through standard software. The same was used to measure the suitable 3D microstructural parameters from the 2D sections. Three dimensional microstructural parameters like mean caliper diameter of β particle, number of β particles per unit volume ‘Nv’, surface to volume ratio for β phase particles (α- β interface) ‘Sv’, were calculated. Number of β particle intercepts per unit area ‘NA’ was determined by measuring number of β phase particle in each section. The volume of a β particle as calculated from the caliper diameter using three-dimensional microstructural analysis, which could not get directly determined with conventional two-dimensional microscopy.

The local wind band in Lilla Edet, Lilla Edets Musikförening, springs from work and activities in the late 19:th century. Since then, the band has developed from a brass sextet to mixed wind band. It has been an appreciated contribution to the society on festive occasions. Yet, it seems like the band more and more has lost it´s useful purpose. Also, the recruiting of new members has ceased, as the music school has trouble with attracting pupils to learn to play wind instruments. The reasons for this reduced interest are more then one. One aspect can be lack of atten-tion to the genre in music education, both in the music school and in the regular school. It may also be due to the media not showing enough of the wind music. That this genre, in many purposes, has been replaced by today´s popular music also makes the average Swede unaware of it´s qualities. There are, however, places where the wind music tradition is stronger. This can, for example, come from special wind instrument education at an early age. It can also be due to the local band playing a prominent part in the society. To help a languishing band activity, the band itself must cooperate with the music school and the society. All parts must do what they can to make sure the business stays alive. / Lilla Edets Musikförening har sitt ursprung ur föreningslivet i slutet av 1800-talet. Musik-kåren har sedan dess utvecklats från mässingssextett till blandad blåsorkester. Den har uppskattats och haft sin givna plats vid högtider i, och i många fall utanför, kommunen. Dock har musikföreningens funktion i samhället med åren successivt blivit mindre befintlig. Därtill har rekryteringen av nya medlemmar avstannat, i takt med att musikskolan lockar färre och färre elever till att spela blåsinstrument. Anledningarna till detta minskande blåsmusikintresse kan dels vara brist på uppmärksamhet på genren i musikundervisningen, både i musikskolan och i den vanliga skolan, dels kan det vara att blåsmusiken syns för lite i media. Att blåsmusiken, som underhållnings- och funktionsmusik, ersatts av dagens populärmusik, gör också att kunskapen om blåsmusiken är liten hos medelsvensken. Dock finns platser där blåsmusiktraditionen är starkare. Detta kan t.ex. komma sig av att man satsar på särskild blåsundervisning i tidig ålder, eller att musikkårsverksamheten har en väldigt framträdande och självklar roll i samhället. För att en tynande musikkårsverksamhet ska överleva krävs insatser från både musikkåren själv, musikskolan och kommunen. Alla parter måste samverka och vara beredda att satsa för att trygga verksamhetens framtid.

This study is based on discussions among Swedish brass teachers about teaching other brass instruments than their main instrument. Why do some choose to teach only with the help of their main instrument while others use their secondary instruments as well? What are the advantages and disadvantages and how do they look upon other ways of thinking in this matter? In addition, the study examines brass teachers’ views on the balance between pedagogical and instrumental skill, as well as their views on teaching sound, technique and expression in relation to the age of the student. A questionnaire was used and anwered by 24 teachers with teaching experience in municipal music schools ranging from 7 months to 35 years. The results indicate that pedagogical skill is always important, whereas the importance of instrumental skill increases as the student gets older and more experienced. The advantage of teaching with the help of the main instrument is that one always keeps a high musical and technical level. However, the advantage of always using the instrument taught is that the student gets the right sound ideal. Sound, technique and expression all become more and more important as the student progresses. According to the survey, sound is regarded as the most important thing to work with on all levels, followed by technique and last, expression. The main part of the study is seen from a teacher perspective, however some student opinions are also included.