abstract: 4H-SiC has been widely used in many applications. All of these benefit from its extremely high critical electric field and good electron mobility. For example, 4H-SiC possesses a critical field ten times higher than that of Si, which allows high-voltage blocking layers composed of 4H-SiC to be approximately a tenth the thickness of a comparable Si device. This, in turn, reduces the device on-resistance and power losses while maintaining the same high blocking capability. Unfortunately, commercial TCAD tools like Sentaurus and Silvaco Atlas are based on the effective mass approximation, while most 4H-SiC devices are not operated under low electric field, so the parabolic-like band approximation does not hold anymore. Hence, to get more accurate and reliable simulation results, full-band analysis is needed. The first step in the development of a full-band device simulator is the calculation of the band structure. In this work, the empirical pseudopotential method (EPM) is adopted. The next task in the sequence is the calculation of the scattering rates. Acoustic, non-polar optical phonon, polar optical phonon and Coulomb scattering are considered. Coulomb scattering is treated in real space using the particle-particle-particle-mesh (P3M) approach. The third task is coupling the bulk full-band solver with a 3D Poisson equation solver to generate a full-band device simulator. For proof-of-concept of the methodology adopted here, a 3D resistor is simulated first. From the resistor simulations, the low-field electron mobility dependence upon Coulomb scattering in 4H-SiC devices is extracted. The simulated mobility results agree very well with available experimental data. Next, a 3D VDMOS is simulated. The nature of the physical processes occurring in both steady-state and transient conditions are revealed for the two generations of 3D VDMOS devices being considered in the study. Due to its comprehensive nature, the developed tool serves as a basis for future investigation of 4H-SiC power devices. / Dissertation/Thesis / Doctoral Dissertation Electrical Engineering 2020

John Mackey is an influential and prolific composer of wind band literature. His focus on and exploration of the percussion section are defining characteristics of his compositional voice. Mackey's concerto for percussion and wind band, "Drum Music," is a perfect example of his exploitation of the myriad timbres available within the percussion family, and also serves to showcase the versatility required of a modern percussionist. This dissertation and accompanying lecture recital provide a comprehensive guide for performers of the work. Major aspects of Mackey's compositional approach are discussed with emphasis placed on his use of percussion throughout his works. Analysis and performance concerns are discussed for each of the concertos three movements, and information is provided on the reduced version of the work prepared as part of this study.

Since the 18th century, composers have utilized the symphony to communicate thoughts and ideas through the vehicle of a large ensemble composed of a variety of instrumental colors. Though the structure of the symphony has understandably been subject to the varied interpretations of composers over the past 300 years, several characteristics of the traditional symphony do seem to have stood the test of time. In this document, the recent developments of the American symphony for wind band is discussed, focusing on the ways in which recent works both adhere to and divert from the traditional understanding of the classical symphonic form and highlighting the resurgence of the form by wind band composers. For the purposes of this study, David Dzubay's Symphony No. 2: Through a Glass Darkly, James Stephenson's Symphony No. 2: Voices, Donald Grantham's Symphony No. 2: After Hafiz, and Kevin Walczyk's Symphony No. 4: Unforsaken are used to demonstrate how each composer writes in their own unique style using contemporary techniques, while still appearing to maintain traditional aspects of the symphonic form, whether consciously or subconsciously. For each of the four works, a structural analysis is conducted using a rubric of standard symphonic norms. Additionally, interviews were conducted with each composer, providing insight on their compositional process, the commissioning process, and their thoughts on the symphonic form for wind band. The responses each composer gave during their interviews is incorporated into the analysis of each work, allowing the composer's own voice to supplement the findings.

The history of music education in America shows that a variety of activities have been, and still are, included in the public school music program. The emphasis which has been placed on the various media of music in the schools has shifted from time to time, just has the concepts of general education have changed. At one time the important thing in teaching music was teaching singing; the music class became, in fact, a "singing class." A little later orchestras became a prominent part of the music education program. Still later a great emphasis was placed upon brass bands. As the instrumental program became stronger and more active the vocal program seemed to be forced somewhat into the background. Just at the time the proponents of vocal music were beginning to bewail their fate, a new interest began to develop in the music education program, that being an interest in "a capella" choirs. Today our schools have been able to coordinate the work of the various media into a well balanced program of music education-- one which affords opportunities in both instrumental and vocal music. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / "May, 1955." / Typescript. / Advisor: W. L. Housewright, Professor Directing Paper. / Includes bibliographical references. Includes annotated list of works for band or orchestra with chorus (leaves 24-39).