Squeeze film dampers are used in the high speed turbo machinery industry and aerospace industries as a means to reduce vibration amplitude, to provide damping, to improve dynamic stability of the rotor bearing system and to isolate structural components. The effects of cavitation included in previous studies were not effective. The effect of different design parameters were not studied thoroughly as experimental investigation of squeeze film dampers is very expensive. Few of them used numerical investigation but the methods they used are either time consuming or complicated. The present study investigated the feasibility of applying a steady state solver, which is computationally less expensive, for analyzing flow field inside the squeeze film dampers. The behavior of dynamic pressure profiles at different operating conditions, and the effect of a central groove on dynamic pressure profiles were also studied. Simulation results of a 3D case which is similar to the one experimentally studied by Delgado were used to establish if the moving reference frame (MRF) model in Fluent 12.1 can be used. A steady state solver in an absolute frame of reference was used to produce whirling motion of the rotor in this study. The inlet pressure of 31kpa and the whirling speed of 50 and 100Hz were used as boundary conditions. The mixture model with three percent dissolved air in lubricant is used to model multiphase flow. Singhal cavitation model is used to model cavitation. The simulations (50,000 iterations) were run until steady state solutions were reached. The results closely agreed with those obtained experimentally by San Andrés and Delgado. Numerical simulations of three-dimensional cases with an additional central groove on the squeeze film land were also performed to predict the effect of central groove on dynamic pressure profiles. Addition central groove reduces the pressures and forces generated by squeeze film damper.

Detta arbete handlar om att utforska hur jag kan få ett bättre sväng på mitt trumset, både i livesammanhang och i studio. Metoderna är anpassade för mig och där jag befinner mig som musiker just nu, men de går även att tillämpa för andra trumslagare och musiker i allmänhet.      Under det här arbetet har jag har valt ut tre teman inom trumspel att jobba utifrån. För att undersöka dessa teman har jag spelat in ett antal låtar i studio med hjälp av både ljud och video samt spelat och analyserat ett antal andra låtar i en så kallad ”Groove-ensemble”.       Jag har även intervjuat etablerade musiker som har stor erfarenhet inom både studio- och livesammanhang. Jag har ställt dem en specifik undersökningsfråga angående sväng och sedan jämfört svaren med mina resultat.      Tyvärr uteblev en del dokumentation från studioinspelningarna eftersom de inte bearbetats i tid av utomstående part. De inspelningar som blev färdiga har dock varit tillräckliga för mig att undersöka mina utvalda teman även om jag önskat ha mer data tillgänglig att redovisa i arbetet.      Alla slutsatser jag dragit i detta arbete har dragits utifrån mina egna erfarenheter, de intervjuer jag gjort samt den information jag tagit del av via sociala medier och bör därför inte nödvändigtvis tas för att vara sanning.

The target of this work is to optically interconnect a semiconductor laser and a single mode fiber (SMF) through a simple Si bench technology using buried waveguide devices. This technology is suitable for applications such as optical transceivers and add-and-drop multiplexers. Three major components, namely, planarized laser diode, buried waveguide, and SMF are hybrid integrated on the Si bench. The ridge-type laser was planarized by BCB etch-back process, and was flip-chip mounted on the Si bench. On the other hand, the sol-gel buried waveguide was passively aligned to SMF using V-groove and U-groove techniques. Miss-alignment loss as low as 1 dB can be obtained.

The objective of this thesis is to integrate the optical waveguide and single mode fiber in a passive alignment way on a silicon bench. This technique can reduce the complexity of packaging the individual components and increase yield of the module in order to achieve the goal of the mass production. In this module, buried waveguide structure was used for light guidance. A 1.31µm semiconductor laser was used as the input light source. Light signal launched by semiconductor laser is transferred through the buried waveguide into the single mode fiber. This module structure is consisted of two major parts, namely, the buried waveguide and the silicon bench. Buried optical Waveguide uses SO2 as the bottom cladding. Conventional photolithography procedures and etching technique were used to form a trench on the SiO2 cladding. The waveguide core was fabricated by coating the organic-inorganic hybrid materials into the trench. Finally, an organic-inorganic hybrid materials with a refractive index smaller than that of the core is used as the top cladding. The silicon benches were obtained by etching V-groove and saw-cutting U-groove on the silicon substrates for fixing the fiber. The patterning of buried waveguide and silicon V-groove were fabricated by a single optical mask procedure. Therefore accurate alignment between the waveguide and the single mode fiber can be obtained.

Natural and synthetic heterocyclic cations that bind to the DNA minor groove have demonstrated effectiveness as therapeutic agents for cancer, parasitic and viral diseases, as well as powerful probes for use to extend our fundamental understanding of DNA molecular recognition. Crystal and NMR structures with a variety of minor groove binding compounds have shed light on the structural varieties of these systems, the important solvent molecules in the complexes, and the induced fit effects for binding of both DNA and the bound small molecule. Topics of specific importance in DNA recognition are the development of a greater variety of cell-permeable minor groove agents that have increased DNA binding sequence selectivity. In this dissertation, the structural and energetic basis of the interaction between DNA and minor groove binders has been systematically investigated. A set of powerful and complementary biophysical methods have been used: gel electrophoresis with ligation ladder assay, circular dichroism, mass spectrometry, surface plasmon resonance and isothermal titration calorimetry have been applied to determine the binding stoichiometry, binding affinity, kinetics and thermodynamics, and also the structural influence that minor groove binders can have on DNA. The results of several minor groove complexes clearly show that based on DNA sequences, minor groove binders can have multiple binding modes and consequently affect the geometry of DNA minor groove and the overall DNA curvature in distinct manners. In addition, the binding enthalpy of a minor groove binder is essentially salt concentration and binding mode independent. Besides the investigation of DNA-minor groove binder complex, the binding and inhibition of transcription factor PU.1 has also been studied. The highly positive charged PU.1 targets DNA by inserting an α-helix in the major groove of the 5’-GGAA-3’ site, and displays a strong salt concentration dependency. A set of minor groove binders have been rationally designed based on the high-affinity DNA sequence for PU.1 to target the flanking sequences of the 5’-GGAA-3’ site. They display a structure-related PU.1 inhibition efficacy. This work demonstrates that minor groove binders are capable of modulating PU.1 by targeting the opposite groove and supports future efforts to develop agents for other transcription factors.

Groove är upplevelsen att musik är rörelseskapande, vilket är det som får människor att stampa i takt till gatumusikanterna. Tidigare forskning visar att det finns inneboende egenskaper i musiken som korrelerar med groove. Förevarande studie hade därför som syfte att undersöka om det finns rytmiska egenskaper i musiken som korrelerar med groove, och hur detta eventuellt påverkas av kön och om man får röra sig till musiken eller inte. Hälften av deltagarna fick instruktioner att röra sig naturligt till musiken, och andra hälften att sitta stilla. Den experimentella studien innefattade 30 kvinnor och 30 män (23–68 år) som lyssnade på 50 musikexempel i tre olika temporegioner och skattade groove. Groove var korrelerat medmängden ljudhändelser mellan taktslagen och graden av upprepade rytmiska mönster i musiken. Kvinnor skattade groove högre än män överlag, och groove upplevdes högre när deltagarna satt stilla till musiken. Resultaten anknyter till frågor om musikens sociala funktioner och deras roll i ett evolutionärt perspektiv, speciellt med avseende på skillnaderna mellan könen, och att kön ofta har en central roll i evolutionära teorier. / Groove is the experience that music is movement inducing, which is what gets people to tap their feet while listening to the street musicians. Previous research shows that there are intrinsic properties in the music that correlates with groove. The present study therefore aimed to investigate whether there are rhythmical properties in the music that correlates with groove, and how this eventually is affected by gender and if you move to the music or not. Half of the participants were instructed to move naturally to the music and the other half to sit still. The experimental study included 30 women and 30 men (23–68 years) who listened to 50 musicexamples in three different tempo regions and rated groove. Groove was correlated with the density of sound events between the beats and the degree of repetitive rhythmical patterning in music. Women rated groove higher than men generally, and groove was higher when the participants sat still. The findings relate to questions about the social functions of the music and their role in an evolutionary perspective, especially regarding the differences between sexes, and that sex often has a central role in evolutionary theories.

Att spela trummor har alltid varit en grundpelare i mitt musikliv. Någonstans i mitten av min lärarutbildning bestämde jag mig för att plocka upp trumstockarna igen och utveckla mitt trumspel. Efter en tid insåg jag att väldigt många lärarstudenter jag träffat under mina år av studier har sagt något i stil med: “Jag önskar att jag kunde spela trummor”. Utav de instrument vi ska undervisa verkar trummor vara det instrument som är svårast att börja med. Tanken om en framtid fylld med osäkra musiklärare fick mig att vilja ta reda på hur dagens musiklärare tänker och känner. / The aim of this study is to investigate how music teachers in Swedish upper-secondary schools  whose main instruments are melodic perceive the rhythmic perception and general rhythmic skill of their students, as well as how the teachers give their students opportunities to improve their rhythmic learning process. The study uses the phenomenological perspective as a foundation, and executes this through qualitative, semi-structured interviews with three music teachers from different Swedish upper-secondary schools. The results show that the interviewed teachers largely view their students as very capable in the field of rhythm, with some outliers. A distinction is indicated between the teacher whose own studies and experience mainly come from the fields of classical music and the teachers whose foundations lie in the pop, rock, and jazz fields. This distinction permeates through to their rhythmic teaching processes, as well as demonstrates itself through their confidence in their own rhythmic perception and production. Follows does a comparison and discussion about how both historical and contemporary research relate to the music teachers’ experiences and pedagogical reasoning, as well as observations on how the historical research has muddled the definitions of common phrases like groove.

The music of Alejandro Viñao is driven primarily by rhythm rather than traditional classical music components such as melody, harmony, and formal structures. As such, this focus on rhythm showcases the innovation of multiple time, defined as the musical simulation of various meters and tempi. Pioneered by Conlon Nancarrow, this rhythmic innovation is identified within Water (2013). The purpose of this dissertation is to provide insight and analysis of the specific musical characteristics of Viñao’s compositional style. These characteristics include the use of rhythmic grooves, attractors, echo effect, tenuto markings, Euclidean rhythms, and water imagery. Once this analysis has been completed, this dissertation then highlights the necessary practicalities of performance by discussing aspects such as conducting, rehearsal preparation, setup configuration, mallet considerations, and the technical aspects of performing bongos and congas.

Vad är sväng och hur lär man ut det ”rätta svänget”? Syftet med studien är att få en djupare förståelse för hur folkmusikpedagoger uppfattar och förmedlar sväng samt få en inblick i vilka metoder som förekommer vid undervisning av sväng i folkmusik. Studien genomfördes med kvalitativa intervjuer. Jag intervjuade fyra pedagoger som samtliga är aktiva inom folkmusikgenren. Studiens teoretiska utgångspunkt utgörs av didaktiska perspektiv på undervisning och lärande med särskilt fokus på de didaktiska frågorna hur, vad och varför.  Resultatet visar att flertalet informanter ansåg att sväng är ett viktigt moment inom folkmusiken men att det är något de sällan pratar om. Informanternas egna uppfattningar om sväng bottnar i en känsla av rörelse i musiken eller att musiken ger impulser till att sätta kroppen i rörelse. Det förekom även en uppfattning om att begreppet sväng ibland används som ett uttryck för något positivt i musiken snarare än ett namn på ett specifikt musikaliskt fenomen. I det fallet skulle termen sväng användas som en allmän positiv förstärkning för folkmusikspel. De metoder som förekommer för att lära ut sväng är kopplade till dans, rörelse och samspel. / The aim of this study is to gain a deeper understanding in how folk music educators perceive and convey groove. I purported to gain insight into the methods used in the teaching of groove in folk music. The study was conducted with qualitative interviews. I interviewed four teachers who are all active within the genre of folk music. The theoretical starting point of the study is the didactic approach to teaching and learning with particular focus on the didactic questions of how, what and why. The results show that the majority of respondents felt that the groove is an important element in folk music, but that it's something they rarely talk about. The informants' own perceptions of groove come from a sense of movement in music or that music provides the impetus for putting the body in motion. There was also a perception that the term groove sometimes is used as an expression for something positive in the music rather than being a specific musical phenomenon. In that case the term would be used as a common positive response to folk music performance. The methods applied in teaching groove are connected to dance, movement and interaction.

The study objective was to determine cementum-dentin wall thickness along the furcation groove in maxillary bifurcated first premolars after preparation with three successively larger, 0.04 tapered, nickel titanium rotary files. Pre-instrumentation and post-instrumentation imaging was accomplished utilizing Cone Beam Computed Tomography. All data was analyzed using an ANOVA. Instrumentation resulted in a significant reduction in dentin-cementum wall thickness (p < .001). At mid-groove, predicted dentin-cementum wall thickness (95% CI) was equal to or less than the proposed standard (0.50 mm) for apical file sizes 30, 35, and 40 respectively. Instrumentation of the mid-groove in maxillary first premolars reduces dentin-cementum wall thickness to levels that may be insufficient to ensure tooth integrity.