Thesis (M.M.) -- Florida State University, 2003. / Advisor: Mark Wingate, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-17-03). Document formatted into pages; contains 77 pages. Includes biographical sketch.

Thesis (M.S.)--Auburn University, 2008. / Abstract. Includes bibliographical references (p. 43-52).

Thesis (M.S.)--University of Nebraska--Kearney, 2009. / "December 2009". Includes bibliographical references. Also available in PDF via the World Wide Web.

Thesis (Ph.D.)--York University, 2005. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 537-561). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11595

Photocatalysis is a green technology that has been widely used in wastewater treatment. In this work, mass transfer processes in corrugated photocatalytic reactors were characterized both experimentally and through computer simulations. For the experimental work, various drum rotational speeds, reactor liquid volumes and number of corrugations were studied to elucidate their effects on mass transfer phenomena. The mass transfer rate was found to increase with increasing rotational speed. Liquid volumes in the reactor significantly affect the mass transfer rate when 20% of the surface area of the drum was immersed. A higher mass transfer rate was found using the drum with 28 corrugations, which had the lowest mass transfer coefficient when compared to the drums with 13 and 16 corrugations. In the computer simulations, velocity and concentration fields within the corrugated reactors were modelled to explore the characteristics of mass transfer processes. The mass transfer coefficients predicted by the simulations were lower than those measured experimentally due to mass transfer limitations occurring between the corrugation volume and bulk solution in the simulations. Based on mass transfer characteristics, it was determined that the drum with 28 corrugations was the most efficient photocatalytic reactor, and had the lowest mass transfer coefficient among those studied.

Subjective tinnitus is the perception of sound despite the absence of an external stimulus. This challenging sensory event affects millions of people per year. There currently is no cure for tinnitus, but there have been many different options researched to help patients manage its effects, albeit with varying efficacy. In a viral internet video, the Beating the Heavenly Drum maneuver, found in the Eastern practice of Qigong, was said to eliminate the perception of tinnitus for the participants. In this current study, the Beating the Heavenly Drum maneuver was compared to a sham maneuver and evaluated for effectiveness in relieving tinnitus. To be included in this study, participants had experienced tinnitus for at least 6 months and were not currently receiving other tinnitus care. Exclusionary criteria included a diagnosis of Post-Traumatic Stress Disorder, Traumatic Brain Injury, any neurological condition, whiplash, neck injury, or severe anxiety or depression, as determined by the Hospital Anxiety and Depression Scale. Participants completed a tinnitus case history form, Tinnitus Functional Index (TFI), Tinnitus Handicap Index (THI), and Visual Analog Scale (VAS) ranking the annoyance of their tinnitus. Participants were assigned to groups in an alternating fashion, with odd identifiers in Group 1 and even identifiers in Group 2. In Group 2, participants received the experimental maneuver (Beating the Heavenly Drum) during the first session and the sham maneuver (circles rubbed at the base of the skull) during the second. In Group 1, participants received a sham maneuver during the first session and the experimental maneuver during the second session. Within 48 hours after each session, participants completed the TFI, THI, and rated the annoyance of their tinnitus on a scale of 0 to 10 (keeping the same parameters from the VAS) via phone call. Of the twelve participants, two reported that the experimental maneuver, Qigong, was effective for tinnitus relief; while five reported the sham condition relieved their tinnitus. The remaining five participants stated that neither maneuver altered their tinnitus sensation. Across all participants, there were no significant difference scores on the THI, and only one significant difference score on the TFI. While participants reported some change in their tinnitus with either maneuver, none of the questionnaire measures corroborated their subjective report. Additionally, the sham maneuver was perceived as more effective than the experimental maneuver. The Qigong maneuver was not effective for tinnitus relief in this study. It should be noted that a limitation to this study is the small sample size. While this Qigong maneuver did not relieve tinnitus, there are other Internet tinnitus “cures” that should be investigated for their effectiveness in tinnitus relief. With the rise of the Internet and more patients searching for “quick fixes” to tinnitus, it is vital that clinicians provide appropriate education and research to best help patients manage their tinnitus.

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The central theme of this thesis deals with problems related to the question, “Can one hear the shape of a drum?” first posed formally by Mark Kac in 1966. More precisely, can one determine the shape of a membrane with fixed boundary from the spectrum of the associated differential operator? For this paper, Kac received both the Lester Ford Award and the Chauvant Prize of the Mathematical Association of America. This problem has received a great deal of attention in the past forty years and has led to similar questions in completely different contexts such as “Can one hear the shape of a graph associated with the Schrödinger operator?”, “Can you hear the shape of your throat?”, “Can you feel the shape of a manifold with Brownian motion?”, “Can one hear the crack in a beam?”, “Can one hear into the sun?”, etc. Each of these topics deals with inverse eigenvalue problems or related inverse problems. For inverse problems in general, the problem may or may not have a solution, the solution may not be unique, and the solution does not necessarily depend continuously on perturbation of the data. For example, in the case of the drum, it has been shown that the answer to Kac’s question in general is “no.” However, if we restrict the class of drums, then the answer can be yes. This is typical of inverse problems when a priori information and restriction of the class of admissible solutions and/or data are used to make the problem well-posed. This thesis provides an analysis of shapes for which the answer to Kac's question is positive and a variety of interesting questions on this problem and its variants, including cases that remain open. This thesis also provides a synopsis and perspectives of other types of “can one hear” problems mentioned above. Another part of this thesis deals with aspects of direct problems related to musical instruments.

No description available.

Undersökningen har genomförts för att ta reda på hur digitala verktyg används i musikindustrin och på vilket sätt dessa appliceras i praktiken. Det digitala verktyget som ställts i fokus är “trum-plugins” eller digitala trummor.Arbetet baseras framförallt på källor i form av video-handledningar, digitala artiklar, relevant litteratur och forskning, men även på observationer under mitt egna praktiska arbete. Resultatet medför en inblick och förståelse för hur, samt varför digitala trummor används i moderna musikproduktioner. Vidare presenteras exempel på olika tekniker, tillvägagångssätt och arbetsmetoder för att behandla problem i den kreativa arbetsprocessen, samt varför nämnda metoder används. Genom att redovisa dessa exempel synliggörs den exklusiva användningen av trumprogrammering i några av de största nuvarande hitlåtarna. Vidare undersöker arbetet om hur riktiga inspelade trummor manipuleras digitalt genom kvantisering och triggers. För att inkludera en historisk aspekt presenteras hur trummaskinen användes i en musikproduktion när digitala verktyg inte var lika sofistikerade och utvecklade.Med hjälp av ovanstående information och forskning besvarades huvudfrågan.Slutsatsen inkluderar bekräftelsen om att mänskliga musiker allt mer blir ersättliga med den teknologiska utvecklingen. Detta resulterar i en ny frågeställning kopplad till den eviga diskussionen om förhållandet mellan människa och maskin i musikvärlden. / The purpose of this article is to investigate how digital tools are used in the music industry and their practical application. The main focus for this article will be the use of "drum-plugins'', more commonly known as digital drums.The results are based on various source materials such as video tutorials, digital articles, relevant literature and research. Another important aspect of the results are observations from my own music production using digital drums.First, the results provide both an insight and understanding of how and why digital drums are used in modern music productions. Second, a number of techniques, approaches and methods are presented to help solve common problems in the creative work process. Third, the relevance and application of these methods is explored.Furthermore, by accounting for the above examples the presence of digital drums in numerous modern "hit-songs" is discussed. Another important product of digitalization shown in the article is the digital manipulation of real drums using quantization and triggers. Lastly, to include an historic aspect the use of drum machines in "earlier" music productions is presented.The main question was answered using the above information and research.Finally, the conclusion confirms that human drummers are more frequently being replaced due to technological advancements, which results in a new question, or debate, i.e the relationship between man and machine in the music industry.