The majority of the Middle Cambrian Wheeler Formation in the Drum Mountains was deposited during a single 3rd order sequence. Superimposed onto this sequence are three indistinct 4th order cycles and twenty distinct 5th order cycles. These higher order cycles were likely deposited within short intervals of geologic time (204 to 405 ky). The lower sequence boundary zone occurs within the Swasey Formation. The Transgressive Surface is the contact between the Swasey and Wheeler Formations. The Maximum Flooding Surface is located near the top of the lower Wheeler Formation, which also approximates the base of the Ptychagnostus atavus range zone. The upper sequence boundary is marked by stromatolites, which occur near the top of the upper member of the Wheeler Formation in the Drum Mountains. Deposition of the Wheeler Formation in the Drum Mountains was controlled by eustacy and tectonics. Local normal faulting associated with Middle Cambrian postrifting thermal subsidence may have caused some of the 5th order cycles. The cycles and surfaces defined in this stratigraphic analysis, and the base of the Ptychagnostus atavus and P. gibbus range-zones, can be used to correlate strata occurring in other localities in the eastern Great Basin. In addition, this study enables the evaluation of the effect of tectonics (faulting) versus global eustacy on the sedimentary regime occurring within the Middle Cambrian House Range Embayment.

Lightweight designs in engineering applications give rise to flexible structures with extremely low internal damping. Vibrations of these flexible structures due to an unwanted excitation of system resonances may lead to high cycle fatigue failure and noise propagation. A common method to suppress the vibrations is to increase the damping of the system using one of the classical control techniques i.e. passive, active, and/or hybrid. Passive techniques are those control systems that are simply integrated into the structures with no need of external power source for their operations, like viscoelastic damping, piezoelectric and electromagnetic shunt damping, tuned mass damper, etc. However, the control performance of these systems, in terms of the damping ratio and the robustness to uncertainties, is highly limited to the system properties. For example, viscoelastic damping may not perform well at low frequencies and the performance of shunt damping is dependent on the electromechanical coupling between the structure and the transducer. To overcome the limitations associated with passive controls, it has been proposed to use active control systems, which are less sensitive to the system's parameters, to improve the control performance. It requires an integration of sensors and actuators with a feedback loop containing control laws. However, the high requirement of the external power source is not favorable for engineering applications where energy efficiency is the key parameter. The combination of active and passive strategies, known as hybrid control systems, can provide a fail-safe configuration with a high control performance and low power consumption. The price to pay for such configurations is the complexity of the design. This doctoral thesis first investigates the conceptual designs of all kinds of classical control systems for a simplified mechanical system. They include 1) the passive shunt using an electromagnetic transducer, 2) the active control system using positive and negative feedback, and 3) the hybrid electromagnetic shunt damper using both an active voltage source as well as an active current source. The next part of this thesis is focused on bladed structures as real-life applications which highly require vibration control due to their low internal damping. Because of practical reasons, piezoelectric transducers are used for the application of control systems. The finite element model of the structure is made first without piezoelectric patches to optimize the best locations of piezoelectric patches. Then, the model is updated with the piezoelectric patches to numerically simulate different control strategies. The experiments are performed to validate the numerical designs. / Doctorat en Sciences de l'ingénieur et technologie / info:eu-repo/semantics/nonPublished

This paper analyzes the use of Igor Stravinsky's ballet, Le Sacre de Printemps (The Rite of Spring) in shows that are in the Drum Corps International circuit since 2000. The paper is divided into five main sections that cover information about drum corps, The Rite and its music, corps that use The Rite as their show theme, corps that use The Rite as movement, and other uses of The Rite in shows. The Rite of Spring is a renowned piece of orchestral and ballet repertoire that has become increasingly popular in drum corps shows.

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This study investigates the impact of time alignment on perceived attributes for drumkit recording techniques within the context of popular music. While previous research has compared time alignment in drum recording, little attention has been paid to the differences it may cause in perceived recording qualities. To address this gap, various overhead microphone configurations were recorded alongside kick and snare microphones to create stimuli for listening tests. These recordings were then processed with and without time alignment, and attributes such as clarity and punch were evaluated by participants using a modified MUSHRA interface. The results consistently favored non-time-aligned techniques in terms of perceived clarity and punch, with statistically significant differences observed in most cases. Preferences between engineers and musicians did not significantly differ. Participants provided both quantitative and qualitative feedback, including preferences for certain techniques and evaluations of clarity, punch, balance, size, and width. Least preferred samples exhibited characteristics such as roominess, phase issues, processed sound, dryness, harshness, muddiness, and undefined qualities. Critiques of the XY configurations included mentions of uneven stereo imaging and unnatural phase correlation, suggesting potential improvements in mic placement.

In this dissertation on Nat Nakasa I argue, in Chapter 1, that he is one of South Africa's first literary flaneurs. Walking the city as an urban spectator, part journalist, part sociologist, his modernist writings of the metropolis celebrate Johannesburg and also place him in a broad international context. His `tactics of the habitat', in Foucault's phrase, become subversive ruses, a navigation through the cultural seam of South Africa in the 1960s, and this approach offers an alternative to a reductionist anti-apartheid critique. Chapter 2 analyses the excavation of his memory and subsequent elevation to media icon, with the naming of the SANEF Award for Media Integrity after him. Chapter 3 discusses how his auto/biographical writings and representation of self and other contribute to `making history's silences speak'. Finally in chapter 4, I discuss his elusive identity as part of the Drum generation, an insider/outsider, and his exile and suicide in America. / English Studies / M.A. (English)

《紙・驚》與《鼓・箏》 : 褐紫紅色 : 自《彩露》 : 為京腔女中音、中國大鼓和古箏而寫的雙樂章作品 = "Paper. Jolt" and "Gu. Zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-Zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu Zheng, and Percussion (suspended cymbal and vibraphone) = 青瓷色: 自《彩露》: 為降B單簧管, 古箏與敲擊(弔鈸及鋼片琴)而寫 -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet. / "Zhi, jing" yu "Gu, zheng" : he zi hong se : zi "Cai lu" : wei jing qiang nü zhong yin, Zhongguo da gu he gu zheng er xie de shuang yue zhang zuo pin = "Paper, Jolt" and "Gu, zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu zheng, and Percussion (suspended cymbal and vibraphone) = Qing ci se : zi "Cai lu": wei xiang B dan huang guan, gu zheng yu qiao ji (diao ba ji gang pian qin) er xie -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet. / Lee, Kar Tai. / Durations: 8 min.; 4 min.; 4 min.; 10 min. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Abstracts in English and Chinese. / Cover Page --- p.i / Abstract --- p.ii / Acknowledgements --- p.iv / Table of Contents --- p.iv / """Paper. Jolt “ and “ Gu . Zheng""《´紙Ø驚》與《´鼓Ø箏》" --- p.1 / Carnival《嘉年華》 --- p.18 / Celdaon《青瓷》 --- p.35 / "Prelude, Passacaglia and Fugue《前奏、巴沙加牙和賦格曲》" --- p.48