The experimental program presented in this paper explores a passive acoustic baseball bat swing speed measurement technique to aid in product development and certification and to gauge player performance. The collection of experimental information is performed in two facilities?a swing/hit facility and a wind tunnel facility. The data acquired are pressures and velocities in the vicinity of the bat. Potential flow theory is utilized to better understand the signals generated in the experimental collection of data and to determine the fundamental relations applicable to the subsequent flow field produced by a moving bat. The measured flow resembles potential flow but with a distortion due to bat acceleration. The theoretical and experimental results are compared, and a qualitative similarity in the results is established.

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This paper outlines design considerations and implementation details of full swing and of partial swing SRAM arrays. Comparisons between the two methods based on performance, power, and noise rejection are then presented. Finally, a decision matrix will be provided that selects the better topology based on varying design constraints. / text

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The purpose of this thesis is to understand dynamic behaviors of carbon fiber composite golf shaft and the influence of different carbon fiber shaft flexes on club heads. To achieve the purpose, the researcher used the finite element method (FEM) software LS-DYNA and ANSYS to analyze the dynamic behaviors of carbon fiber composite golf shaft. He also applied three rigid bodies and two revote joint in a swing mode to simulate swing motion. In the same driving moment, the comparison provides golfer with a reference for selecting suitable carbon fiber composite golf shaft. It also offers other researchers an FEM model to do further analysis of dynamic behaviors of golf heads with the carbon fiber composite shaft.

The first topic of this thesis is a practical load-optimized VCO design for low-jitter 5V 500 MHz digital phase-locked loop. Besides the low jitter advantage, the design also possesses another feature, i.e., fast locked time. The second topic is the half-swing PLA circuit. An additional 1/2 VDD voltage source and buffering transmission gates are inserted between the NOR planes of PLAs to erase the racing problem and shorten the rise delay as well as the fall delay of the output response such that the speed is enhanced and the dynamic power is reduced. The third topic is a novel design of a the 1.0 GHz pipelining 8-bit CLA based on the architecture we mentioned in the second topic. The operating clock frequency is 1.0 GHz and the output of the addition of two 8-bit binary numbers is done in 2 cycles ( 2.0 ns ).

Operational Transconductance Amplifiers (OTAs) with high linearity and wide input range characteristics have become a focus of interest for analog continuous-time circuits. In this research, we intend to develop a low distortion, wide swing CMOS OTA. The supply voltage is 5V. Simulation results show that the OTA is linear, tunable and wide swing. The transconductance can be tuned from 23£gA/V to 37£gA/V. When a 3VPP input signal with 1MHz is applied, THD of the OTA is 51dB. The OTA is used to realize a 1-MHz 7th-order Butterworth lowpass filter. When a 1VPP input signal with 100KHz is applied, THD of the lowpass filter is 50dB. All the circuits are designed based on the UMC 0.5£gm 2p2m CMOS process technology.

We developed low voltage wide swing second generation current conveyors(CCII) with the application to a insensitive Butterworth second-order low-pass filter. All circuits are designed using the parameters of TSMC 1P4M 0.35um process. The minimum supply voltage of CCII(1) circuit is |Vtp|+3Vod. The supply voltage of CCII(2) circuit is |Vtp|+2Vod. The voltage swing of the CCIIs are almost rail to rail.

John Rutter, a world-famous British choral conductor and composer, was educated well in his childhood and the choral experience during that time has helped him to become an outstanding musician. After he was well-known, he not only established the Cambridge Singers and Collegium label, but also spared no pains to spread choral music such as being a guest-conductor or lecturer around the world. Three Birthday Madrigals was completed in 1997. It¡¦s for two to four part female chorus and is a rearrangement from Birthday Madrigals, a choral suite including five pieces of music for mixed choir that was commissioned by Brian Kay to celebrate the seventy-fifth birthday of the great jazz pianist, George Shearing, in 1995. The texts of Three Birthday Madrigals all came from the eminent poet of Elizabethan Era of the late Renaissance Period; The first piece It was a lover and his lass came from William Shakespeare¡¦s As You Like It, the second piece My true love hath my heart is a sonnet, coming from Sir Philip Sidney¡¦s Arcadia, and the third piece When daisies pied combined William Shakespeare¡¦s Love's Labour's Lost with George Peele¡¦s The Old Wives¡¦ Tale. Rutter used two distinguished styles in Three Birthday Madrigals. He applied the jazz style to describe the delightful feeling of the first piece and the relaxing and pleasing feeling of the third piece. He utilized the English Partsong tradition when expressing the touching and profound love of the second piece. The most noticeable feature of the first piece is the dotted rhythm. Rutter indicated that the dotted eighth and sixteenth notes should be performed with a two-to-one ratio to interpret the swing style. The piano accompaniment sentence is extremely important, and improvisation-like manner will determine the jazz flavor firmly. The second piece preserves the unique aesthetic quality of pure human voices by having the singing a cappella. The first soprano part carries the melody most of time with the other voices supplying the harmonies. The third piece is a jazz waltz. It is similar with the first piece; the piano accompaniment plays an important role in creating atmosphere jazz and in enriching the musical color. Rutter applied smooth line against syncopation and clothed each section with legato and staccato simultaneously to make contrast. Therefore, when interpreting this piece, the choir should express the contrast clearly to make the music lively and attractive. This master report consists of seven parts: the preface, a biographic sketch of John Rutter, Rutter¡¦s compositional genres, Rutter¡¦s choral music, a biographic sketch of three poets, analysis and interpretation of Three Birthday Madrigals, and the conclusion. There are two appendices at the end of this paper. Appendix A supplies two e-mail letters from Rutter. Appendix B is a list of Rutter¡¦s published secular choral music.