Preparation of Coated Microtools for Electrochemical Machining Applications

PREPARATION OF COATED MICROTOOLS FOR ELECTROCHEMICAL MACHINING APPLICATIONS Ajaya K. Swain, M.S. University of Nebraska, 2010 Advisor: K.P. Rajurkar Coated tools have improved the performance of both traditional and nontraditional machining processes and have resulted in higher material removal, better surface finish, and increased wear resistance. However, a study on the performance of coated tools in micromachining has not yet been adequately conducted. One possible reason is the difficulties associated with the preparation of coated microtools. Besides the technical requirement, economic and environmental aspects of the material and the coating technique used also play a significant role in coating microtools. This, in fact, restricts the range of coating materials and the type of coating process. Handling is another major issue in case of microtools purely because of their miniature size. This research focuses on the preparation of coated microtools for pulse electrochemical machining by electrodeposition. The motivation of this research is derived from the fact that although there were reports of improved machining by using insulating coatings on ECM tools, particularly in ECM drilling operations, not much literature was found relating to use of metallic coating materials in other ECM process types. An ideal ECM tool should be good thermal and electrical conductor, corrosion resistant, electrochemically stable, and stiff enough to withstand electrolyte pressure. Tungsten has almost all the properties desired in an ECM tool material except being electrochemically unstable. Tungsten can be oxidized during machining resulting in poor machining quality. Electrochemical stability of a tungsten ECM tool can be improved by electroplating it with nickel which has superior electrochemical resistance. Moreover, a tungsten tool can be coated in situ reducing the tool handling and breakage frequency. The tungsten microtool was electroplated with nickel with direct and pulse current. The effect of the various input parameters on the coating characteristics was studied and performance of the coated microtool was evaluated in pulse ECM. The coated tool removed more material (about 28%) than the uncoated tool under similar conditions and was more electrochemical stable. It was concluded that nickel coated tungsten microtool can improve the pulse ECM performance.

THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS

The significance of the works by Venezuelan-born composer Paul Desenne lies in his unique compositional style that incorporates elements of Latin American folk, pop, and traditional music within the framework of the Western European tradition. His works, though easily classified as art music, nevertheless gain much of their emotional and referential meaning through this rich borrowing. This document focuses on three of Desenne’s flute pieces: the Solo Flute Sonata (2001), Gurrufío for flute orchestra (1997), and Guasa Macabra for flute and clarinet (2003). It provides an analysis of the three works, examining formal, structural, motivic, and rhythmic aspects. Scores and interviews with the composer have been employed as primary sources. Bibliographical material closely related to his music and other secondary sources support this analytical approach. This document also provides an introduction and stylistic discussion of Desenne’s other pieces that incorporate the flute. Chapter one consists of an introduction to Desenne’s life and general considerations of his musical style. Each of the following three chapters focuses on one the three aforementioned flute works, including information about the composition and premiere of each piece as well as analysis and an examination of its incorporation of traditional folk elements. The final chapter presents an introduction to and stylistic discussion of the other flute pieces by this composer. This study intends to provide a basic understanding of Desenne’s flute music, including general characteristics of his musical style, paving the way for further investigation of Desenne’s music, and flute music in particular.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton