This creative project is the first draft of a database of financial records from Arizona law enforcement's use of the state asset forfeiture program from fiscal 2011-2015. Asset forfeiture is a program by which law enforcement can seize property suspected to have been used in a crime and can then use the property, cash, or proceeds from the property's auction for its own purposes, raising questions of conflicts of interest. The paper explains the methodology and goals for the database, while the database itself represents more than 11,000 pages of financial records and is more than 70,300 cells large.

Essential to the field of petroleum engineering, well testing is done to determine the important physical characteristics of a reservoir. In the case of a constant production rate (as opposed to a constant pressure), the well pressure drop is a function of both time and the formation's boundary conditions. This pressure drop goes through several distinct stages before reaching steady state or semi-steady state production. This paper focuses on the analysis of a circular well with a closed outer boundary and details the derivation of a new approximation, intended for the transient stage, from an existing steady state solution. This new approximation is then compared to the numerical solution as well as an existing approximate solution. The new approximation is accurate with a maximum 10% margin of error well into the semi-steady state phase with that error decreasing significantly as the distance to the closed external boundary increases. More accurate over a longer period of time than the existing line source approximation, the relevance and applications of this new approximate solution deserve further exploration.

This project is an arrangement of three movements from Igor Stravinsky's most famous and beloved ballets for performance by classical guitar quartet. The movements arranged were "Augurs of Spring" from The Rite of Spring (1913), "Russian Dance" from Petrouchka (1911), and "Infernal Dance of All Kastchei's Subjects" from The Firebird (1910). Because the appeal of this music is largely based on the exciting rhythms and interesting harmonies, these works translate from full orchestra to guitar quite well. The arrangement process involved studying both the orchestral scores and Stravinsky's own piano reductions. The sheet music for these arrangements is accompanied by a written document which explains arrangement decisions and provides performance notes. Select movements from Stravinsky for Guitar Quartet were performed at concerts in Tempe, Glendale, Flagstaff, and Tucson throughout April 2016. The suite was performed in its entirety in the Organ Hall at the ASU School of Music on April 26th 2016 at the Guitar Ensembles Concert as well as on April 27th 2016 at Katie Sample's senior recital. A recording of the April 27th performance accompanies the sheet music and arrangement/performance notes.

Asperger's syndrome is a high-functioning subset of Autism Spectrum Disorders (ASD). Diagnosed patients often lack refined social skills but possess a normal level of cognitive skills without delay in language development. These deficient social skills can impact the ability to find and maintain a job, which can be burdensome for all individuals involved in the patient's life. Although the causes of this condition are largely unknown, a wide variety of social and cognitive therapies have been used to reduce symptom severity, one of which is Mindfulness-Based Stress Reduction (MBSR). Mindfulness is the act of being aware on purpose to whatever is being experienced in the present moment with non-judgment and receptivity. MBSR has been used to bring greater awareness to sensations, thoughts and emotions with the result being reduced reactivity and increased purposeful responsiveness. It is therefore the aim of this study to address the use of an 8-week Mindfulness-Based Stress Reduction in adolescents with clinical Asperger's Syndrome to reduce reactive tendencies. This study will utilize a randomized control group of waitlisted participants given MBSR informational material and a practicing MBSR group. Post-MBSR Parent Global Impressions-III (PGI-III) and Social Responsiveness Scale scores are hypothesized to be improved in MBSR group and unaffected in the control for behavioral markers with no change in core autistic symptoms. Daily average cortisol response is also expected to decrease in the experimental group with unaffected levels in the control.

Many forms of programmable matter have been proposed for various tasks. We use an abstract model of self-organizing particle systems for programmable matter which could be used for a variety of applications, including smart paint and coating materials for engineering or programmable cells for medical uses. Previous research using this model has focused on shape formation and other spatial configuration problems, including line formation, compression, and coating. In this work we study foundational computational tasks that exceed the capabilities of the individual constant memory particles described by the model. These tasks represent new ways to use these self-organizing systems, which, in conjunction with previous shape and configuration work, make the systems useful for a wider variety of tasks. We present an implementation of a counter using a line of particles, which makes it possible for the line of particles to count to and store values much larger than their individual capacities. We then present an algorithm that takes a matrix and a vector as input and then sets up and uses a rectangular block of particles to compute the matrix-vector multiplication. This setup also utilizes the counter implementation to store the resulting vector from the matrix-vector multiplication. Operations such as counting and matrix multiplication can leverage the distributed and dynamic nature of the self-organizing system to be more efficient and adaptable than on traditional linear computing hardware. Such computational tools also give the systems more power to make complex decisions when adapting to new situations or to analyze the data they collect, reducing reliance on a central controller for setup and output processing. Finally, we demonstrate an application of similar types of computations with self-organizing systems to image processing, with an implementation of an image edge detection algorithm.

Music is part of cultures all over the world and is entrenched in our daily lives, and yet little is known about the neural pathways responsible for how we perceive music. The property of "dissonance" is central to our understanding of the emotional meaning in music, and this study is a preliminary step in understanding how this property of music is perceived. Twenty-four participants with normal hearing listened to melodies and ranked their degrees of dissonance. Melodies that are categorized as "dissonant" according to Western music theory were ranked as more "dissonant" to a significant degree across the 9 conditions (3 conditions of scale: Major, Neapolitan Minor, and Oriental; 3 conditions of wrong notes: no wrong notes, diatonic wrong notes, and non-diatonic wrong notes). As expected, the familiar Major scale was identified as more consonant across all wrong note conditions than the other scales. Notably, a significant interaction was found, with diatonic and non-diatonic notes not perceived differently in both of the unfamiliar scales, Neapolitan and Oriental. This study suggests that the context of musical scale does influence how we create expectations of music and perceive dissonance. Future studies are necessary to understand the mechanisms by which scales drive these expectations.

This thesis describes a survey of multiple universities accredited by the National Association of Schools of Music (NASM) that offer wellness courses. The survey sought to identify topics to aid in furthering musicians' wellness. Ideally, the information provided will help aid Arizona State University and other universities create a wellness course for their students. For this research, 65 university music schools, departments, and conservatories were asked to provide information and syllabi on musicians' wellness courses they offered. Thirty-one schools replied and provided information (48%), and syllabi from 38 music courses were collected and analyzed. Content analysis revealed: (1) Topics of musicians' wellness varied from studying a specific technique to general overviews of multiple approaches to wellness; (2) The most frequently discussed topics were health, the Alexander Technique, wellness, prevention, anxiety, anatomy, Body Mapping, alignment, yoga, hearing, relaxation, and neurology; (3) All wellness courses offered one to three credits toward a music degree; (4) The courses were generally taught by a variety of professionals; (5) Intended course audiences ranged from undergraduates to graduate students and included specific vocal/instrumental performance areas. Results indicated that there are many ways that universities successfully aid their students by providing wellness information. Further consideration for wellness course options is suggested in practice and research, with the goal of offering performers strategies for optimal health and wellness.

In modern music and theater education, there is a lack of basic understanding for the "rhythm" aspect in artistic performance. Through my upbringing in musical theater and the a cappella music world in my community, I realized there was an opportunity to fill the gap with teaching beatboxing. By applying vocal percussion to a theater or music curriculum, it would provide a new, creative outlet for young artists by allowing them to explore their capabilities in artistic performance as well as help them flex new muscles for diction and expression training. I created a vocal percussion "language", a basic notation system that would help students learn and retain their beatboxing training through an extra layer of communication and memorization. I conducted a two day Vocal Percussion Seminar where artists could come and learn about the history and origins of beatboxing, the basic sounds in beatboxing, proper warm-ups for building an individual's skills, how to write and practice vocal percussion notation, and practice vocal percussion performance with beatboxing technology. I created two worksheets as visual aids the workshop: A "Sounds of Beatboxing" worksheet identifying where certain beatboxing sounds occur in the mouth and a "Vocal Percussion Notation" worksheet that can be used as a visual aid for crafting and practicing beatboxing according to the notation guidelines. The intention of this seminar is to be a "Phase One", a version that can be updated and changed for future evolution in education styles and beatboxing knowledge. Despite challenges in attendance and circumstances, "Phase One" of the seminar was a success. In my final paper, I discuss my inspiration for the seminar, the rise of beatboxing's presence in theater, the trends of language and rhythm in artistic performance, the tools behind beatboxing, the application of the International Phonetic Alphabet and Knight-Thompson Speechwork, the workshop's development process, the results of the first phase of the seminar, my plan of action for the seminar's future. Everyone has the tools to generate a powerful and impactful performance, but it is how you use the tools to craft your final product.

Witching Hours is the debut studio album of Chicago-born, Phoenix-residing trumpet player John Michael Sherman. It is a consummation of his work in the Arizona State University jazz studies program both as a performer and composer. Featured on the album are several other musicians who John Michael played alongside throughout his tenure at ASU, including Chaz Martineau on tenor saxophone, Evan Rees on piano, Reid Riddiough on guitar, Vince Thiefain on bass, Matt McClintock on drums, and Dan Meadows on baritone saxophone. The album features seven pieces, all original compositions or arrangements. The first track, "Workin' My Nerves", is a blues shuffle in the key of F. This is followed by "Scarborough Fair", an arrangement of the classic English folk tune in a rock style. The title track, "Witching Hours", is an cadaverous linear composition in 7/4 which is followed by "Goliath", a pseudo-tone poem about the biblical giant. "I Should Have Known" is a pensive ballad featuring an a capella intro and cadenza, followed by the most recent composition, a minor blues-esque piece entitled "Who Said That?" The final track, "Don't Change A Thing", is an upbeat samba which was written in John Michael's first year of college. These pieces demonstrate an understanding of the jazz tradition and exhibit influences from such musicians as Clifford Brown, Freddie Hubbard, Wayne Shorter, and Snarky Puppy. The album was recorded at Tempest Recording in Tempe and produced by Clarke Rigsby. Clarke is a veteran recording engineer and is the first choice of many of Phoenix's finest jazz musicians, including thesis director and head of the ASU jazz department Michael Kocour. The pieces were composed and recorded under the guidance of Mike Kocour and Jeff Libman. Witching Hours represents a culmination of John Michael's course in the Arizona State University jazz department and his endeavors as a trumpet player and composer.

This paper presents an experimental investigation into the effects of altering electrode surface area roughness on thermogalvanic cell performance. A temperature difference between two electrodes was induced and brought to steady state to achieve a difference of around 50 °C, which was maintained with a DC power generated hot wire and a pumped ice bath. The open-circuit voltage values at steady-state were measured by a programed multimeter and the temperatures were measured by a series of type K thermocouples. Electrode surface area roughness was altered using different grit values of sandpaper and measuring the values using a Zescope Optical Profilometer. Once three different surface area average values were achieved, 6 trials were performed with 2 trials per roughness value. The results were tabulated in Section 4 of this report.
It was predicted that increasing the surface area roughness would increase the number of electrons present in the reduction oxidation reaction and decrease the activation resistance of the thermogalvanic system. Decreasing the activation resistance, a component of total internal resistance, would therefore increase the power output of the cell by a small magnitude. The results showed that changing the surface area roughness of the Copper electrodes evidently had no effect on the outputs of the cell system. Additionally, the Seebeck coefficient was also unaffected by the presence of increased surface area roughness.
The work presented in the following paper is part of a continuing effort to better understand the performance of thermogalvanic cells and their heat to electrical energy transfer properties.