Pub Date : 2023-01-01DOI: 10.1525/ncm.2023.47.1.33
Lindsay J. Wright
Thomas Wiggins, a blind and cognitively disabled Black pianist and composer, was born into slavery in 1849 and died in circumstances akin to slavery in 1908. Known as “Blind Tom,” Wiggins began performing from a young age and became one of the most popular American pianists of the nineteenth century—as well as one of the most fiercely debated. He was dubbed idiotic, gifted, monstrous, mechanistic, genius, possessed, sophisticated, primitive, marvelous, magical, uncanny. This incongruous reception provides a window into shifting understandings of the relationship between Blackness and innate musicality. The discourse about Wiggins outlines a crucial phase in the conceptual history of musical talent, which solidified as a privileged social and scientific category by the early twentieth century. Onlookers’ descriptions invoke a set of recurring conceptual metaphors, characterizing talent as a discovery, as a gift, as an embodied trait, and as magic. The illogics within each of these constructions reveal how Wiggins’s performances threatened discourses of talent and their racial underpinnings, exposing chinks in the ideological apparatus that formed during the late nineteenth century and fortified the color line. Wiggins’s case demonstrates that musical ability, like music itself, is not an object or possession but a vast constellation of learned practices that shift over time and circumstance, reflecting the social conditions that cultivate them.
{"title":"Black Musicality and the Invention of Talent: The Case of Thomas Wiggins","authors":"Lindsay J. Wright","doi":"10.1525/ncm.2023.47.1.33","DOIUrl":"https://doi.org/10.1525/ncm.2023.47.1.33","url":null,"abstract":"Thomas Wiggins, a blind and cognitively disabled Black pianist and composer, was born into slavery in 1849 and died in circumstances akin to slavery in 1908. Known as “Blind Tom,” Wiggins began performing from a young age and became one of the most popular American pianists of the nineteenth century—as well as one of the most fiercely debated. He was dubbed idiotic, gifted, monstrous, mechanistic, genius, possessed, sophisticated, primitive, marvelous, magical, uncanny. This incongruous reception provides a window into shifting understandings of the relationship between Blackness and innate musicality. The discourse about Wiggins outlines a crucial phase in the conceptual history of musical talent, which solidified as a privileged social and scientific category by the early twentieth century. Onlookers’ descriptions invoke a set of recurring conceptual metaphors, characterizing talent as a discovery, as a gift, as an embodied trait, and as magic. The illogics within each of these constructions reveal how Wiggins’s performances threatened discourses of talent and their racial underpinnings, exposing chinks in the ideological apparatus that formed during the late nineteenth century and fortified the color line. Wiggins’s case demonstrates that musical ability, like music itself, is not an object or possession but a vast constellation of learned practices that shift over time and circumstance, reflecting the social conditions that cultivate them.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135784096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1525/ncm.2023.47.1.53
Alexander Stefaniak
Nineteenth-century pianists routinely treated multimovement works—sonatas, suites, and character-piece sets—not as integral cycles but as sources of movements to excerpt, interpolate, and recombine. Exploring how five twenty-first-century pianists have adapted this practice illuminates the broader history of piano performance and the creative agency of performers invested in canonic works and ideals of Werktreue. Víkingur Ólafsson, Inon Barnatan, Alice Sara Ott, Khatia Buniatishvili, and Hélène Grimaud recombine multimovement works within the context of the concept album genre, a fixture of popular music largely unexplored within classical music. Within their opus-mixing concept albums, these pianists reinterpret the effect in performance and imagined cultural meaning of canonic repertoire. By determining an album’s track-to-track unfolding, they create original tonal, motivic, textural, and topical interrelationships and trajectories. The pianists, liner-note writers, and promoters also frame these albums with rich verbal discourses in which they assert this repertoire’s relevance and even contemporaneity for twenty-first-century listeners. Exploring these albums offers a glimpse of how performers of the classical canon navigate a twenty-first-century, digitally mediated media ecosystem. More broadly, it turns our attention to how this largely unexplored aspect of classical performance and recording shapes the way audiences encounter musical works and performers create public personae.
19世纪的钢琴家通常把多乐章作品——奏鸣曲、组曲和人物组曲——不是作为完整的循环，而是作为乐章的来源来摘录、插入和重组。探索五位21世纪钢琴家是如何适应这种做法的，可以照亮钢琴表演的更广泛的历史，以及表演者在经典作品和Werktreue理想中投入的创造性机构。Víkingur Ólafsson, Inon Barnatan, Alice Sara Ott, katia Buniatishvili和hsamuren Grimaud在概念专辑类型的背景下重新组合了多乐章作品，这是一种流行音乐的固定形式，在古典音乐中基本上没有被探索过。在他们的作品混音概念专辑中，这些钢琴家重新诠释了表演的效果，并想象了经典曲目的文化意义。通过确定专辑的轨道到轨道展开，他们创造了原始的音调，动机，纹理和主题的相互关系和轨迹。钢琴家、内页音符作者和推动者也用丰富的语言话语来构建这些专辑，在这些话语中，他们断言这些曲目的相关性，甚至是二十一世纪听众的当代性。探索这些专辑可以让我们一窥古典经典的表演者是如何在21世纪的数字媒介生态系统中导航的。更广泛地说，它将我们的注意力转向古典表演和录音的这个很大程度上未被探索的方面如何塑造观众遇到音乐作品和表演者创造公众人物的方式。
{"title":"Remixing Multimovement Works, Classical Music Concept Albums, and Twenty-First-Century Pianists’ Interpretations of the Canon","authors":"Alexander Stefaniak","doi":"10.1525/ncm.2023.47.1.53","DOIUrl":"https://doi.org/10.1525/ncm.2023.47.1.53","url":null,"abstract":"Nineteenth-century pianists routinely treated multimovement works—sonatas, suites, and character-piece sets—not as integral cycles but as sources of movements to excerpt, interpolate, and recombine. Exploring how five twenty-first-century pianists have adapted this practice illuminates the broader history of piano performance and the creative agency of performers invested in canonic works and ideals of Werktreue. Víkingur Ólafsson, Inon Barnatan, Alice Sara Ott, Khatia Buniatishvili, and Hélène Grimaud recombine multimovement works within the context of the concept album genre, a fixture of popular music largely unexplored within classical music. Within their opus-mixing concept albums, these pianists reinterpret the effect in performance and imagined cultural meaning of canonic repertoire. By determining an album’s track-to-track unfolding, they create original tonal, motivic, textural, and topical interrelationships and trajectories. The pianists, liner-note writers, and promoters also frame these albums with rich verbal discourses in which they assert this repertoire’s relevance and even contemporaneity for twenty-first-century listeners. Exploring these albums offers a glimpse of how performers of the classical canon navigate a twenty-first-century, digitally mediated media ecosystem. More broadly, it turns our attention to how this largely unexplored aspect of classical performance and recording shapes the way audiences encounter musical works and performers create public personae.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135913008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1525/ncm.2023.47.1.87
Other| July 01 2023 Directions to Contributors 19th-Century Music (2023) 47 (1): 87. https://doi.org/10.1525/ncm.2023.47.1.87 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Directions to Contributors. 19th-Century Music 1 July 2023; 47 (1): 87. doi: https://doi.org/10.1525/ncm.2023.47.1.87 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Content19th-Century Music Search You do not currently have access to this content.
{"title":"Directions to Contributors","authors":"","doi":"10.1525/ncm.2023.47.1.87","DOIUrl":"https://doi.org/10.1525/ncm.2023.47.1.87","url":null,"abstract":"Other| July 01 2023 Directions to Contributors 19th-Century Music (2023) 47 (1): 87. https://doi.org/10.1525/ncm.2023.47.1.87 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Directions to Contributors. 19th-Century Music 1 July 2023; 47 (1): 87. doi: https://doi.org/10.1525/ncm.2023.47.1.87 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Content19th-Century Music Search You do not currently have access to this content.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135913582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Robert Heller, a virtually unknown figure in music-historical accounts, trained in the 1840s at the Royal Academy of Music in London and gave the American premieres of Beethoven’s Fourth and Fifth Piano Concertos with the Germania Musical Society. But he also pursued a parallel career in theatrical magic, using his musical virtuosity to elevate his social and artistic stature as a conjurer. Between 1852 and 1878, his magic act was seen by millions in Europe, East Asia, and the United States, including states and territories in the American West never visited by contemporary piano virtuosos like Thalberg and De Meyer. While magicians routinely incorporated music in their acts, Heller’s virtuosity set him apart from his conjuring peers, including those who were themselves musicians. Using his musical expertise, he blended the magic show with other popular forms of spectacle, including minstrelsy, burlesque, and the piano recital, framing the latter as an extraordinary attraction. Advertisements and accounts of his performances reveal the marketing strategies Heller employed to negotiate the crowded landscape of consumer culture and American popular entertainment, especially during the tumultuous years of the Civil War. These strategies included co-branding, altering the titles and descriptions of musical compositions (particularly “Dixie”), and joining forces with “Blind Tom” (Thomas Greene) Wiggins, the Black, enslaved musical prodigy whom Heller had briefly tutored; they performed together in Louisville during one of the magician’s last appearances in the South. Throughout the 1860s, Heller was influenced by gendered musical practices and regional attitudes toward race and politics, leading him to market his act specifically toward middle-class women, music lovers, Unionists, and those seeking postwar reconciliation.
{"title":"Robert Heller’s Magical Mystery Tours","authors":"Jessie Fillerup","doi":"10.1525/ncm.2023.47.1.3","DOIUrl":"https://doi.org/10.1525/ncm.2023.47.1.3","url":null,"abstract":"Robert Heller, a virtually unknown figure in music-historical accounts, trained in the 1840s at the Royal Academy of Music in London and gave the American premieres of Beethoven’s Fourth and Fifth Piano Concertos with the Germania Musical Society. But he also pursued a parallel career in theatrical magic, using his musical virtuosity to elevate his social and artistic stature as a conjurer. Between 1852 and 1878, his magic act was seen by millions in Europe, East Asia, and the United States, including states and territories in the American West never visited by contemporary piano virtuosos like Thalberg and De Meyer. While magicians routinely incorporated music in their acts, Heller’s virtuosity set him apart from his conjuring peers, including those who were themselves musicians. Using his musical expertise, he blended the magic show with other popular forms of spectacle, including minstrelsy, burlesque, and the piano recital, framing the latter as an extraordinary attraction. Advertisements and accounts of his performances reveal the marketing strategies Heller employed to negotiate the crowded landscape of consumer culture and American popular entertainment, especially during the tumultuous years of the Civil War. These strategies included co-branding, altering the titles and descriptions of musical compositions (particularly “Dixie”), and joining forces with “Blind Tom” (Thomas Greene) Wiggins, the Black, enslaved musical prodigy whom Heller had briefly tutored; they performed together in Louisville during one of the magician’s last appearances in the South. Throughout the 1860s, Heller was influenced by gendered musical practices and regional attitudes toward race and politics, leading him to market his act specifically toward middle-class women, music lovers, Unionists, and those seeking postwar reconciliation.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135913593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2002-11-07DOI: 10.1109/FUSION.2002.1027637
R. Hong, H. Chiu
The DIII-D fusion science research facility employs positive-ion based neutral beam ion sources for plasma heating and current drive experiments. Ion species produced inside the arc chamber of an ion source determine the composition of the neutral beams injected into the plasma and in turn affect the energy deposition along the cross section of the plasma. Arc chamber design and operation schemes are the predominant factors in the ion species mix when an arc discharge is produced inside the arc chamber. When deuterium gas is used for arc discharge three deuterium ion species (atomic D/sub 1//sup +/ and molecular D/sub 2//sup +/ and D/sub 3//sup +/) are produced in the arc chamber of the DIII-D neutral beam ion source. Atomic ion D/sub 1//sup +/ has the highest percentage of the three species, normally about 80% of ions produced. Measurements have shown that both D/sub 1//sup +/ and D/sub 2//sup +/ decrease slightly with lower arc power discharges. However, D/sub 3//sup +/ increases at a higher rate when arc power is reduced. Changing the fraction of the ion species can be beneficial to or meet the needs of some specific plasma experiments. An attempt to manipulate the ion species mix by changing the operating parameters of the arc chamber/ion source has been performed. These operating parameters include filament temperature, arc power, beam energy, and gas flow. Interesting results were obtained which show that arc power is the dominant factor for controlling the species mix. We were not able to significantly change the ion species mix by varying the operating parameters within the operation window when the ion source is operated at constant beam energy. However, the D/sub 3//sup +/ fraction increased by a factor of three when the ion source was operated at a much lower arc power (for 50 keV beam energy operation) than the higher arc power required for ion source operation with beam energy between 75 to 80 keV.
{"title":"Effects of operating parameters on the beam species of DIII-D neutral beam ion sources","authors":"R. Hong, H. Chiu","doi":"10.1109/FUSION.2002.1027637","DOIUrl":"https://doi.org/10.1109/FUSION.2002.1027637","url":null,"abstract":"The DIII-D fusion science research facility employs positive-ion based neutral beam ion sources for plasma heating and current drive experiments. Ion species produced inside the arc chamber of an ion source determine the composition of the neutral beams injected into the plasma and in turn affect the energy deposition along the cross section of the plasma. Arc chamber design and operation schemes are the predominant factors in the ion species mix when an arc discharge is produced inside the arc chamber. When deuterium gas is used for arc discharge three deuterium ion species (atomic D/sub 1//sup +/ and molecular D/sub 2//sup +/ and D/sub 3//sup +/) are produced in the arc chamber of the DIII-D neutral beam ion source. Atomic ion D/sub 1//sup +/ has the highest percentage of the three species, normally about 80% of ions produced. Measurements have shown that both D/sub 1//sup +/ and D/sub 2//sup +/ decrease slightly with lower arc power discharges. However, D/sub 3//sup +/ increases at a higher rate when arc power is reduced. Changing the fraction of the ion species can be beneficial to or meet the needs of some specific plasma experiments. An attempt to manipulate the ion species mix by changing the operating parameters of the arc chamber/ion source has been performed. These operating parameters include filament temperature, arc power, beam energy, and gas flow. Interesting results were obtained which show that arc power is the dominant factor for controlling the species mix. We were not able to significantly change the ion species mix by varying the operating parameters within the operation window when the ion source is operated at constant beam energy. However, the D/sub 3//sup +/ fraction increased by a factor of three when the ion source was operated at a much lower arc power (for 50 keV beam energy operation) than the higher arc power required for ion source operation with beam energy between 75 to 80 keV.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2002-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78175428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2002-11-07DOI: 10.1109/FUSION.2002.1027740
W. Waldron, B. Logan, L. Ahle, G. Sabbi
The Heavy Ion Fusion Virtual National Laboratory is a collaboration among LBNL, LLNL, and PPPL. The engineering and technology development activities arc closely aligned with the major experimental areas, which include injectors, beam transport, and final focus. High current density ion sources to produce a more compact multiple beam injector are a major focus of the current activities. There are several collaborations with insulator manufacturers to achieve higher gradients while lowering the manufacturing cost and maintaining high vacuum compatibility. Solid-state pulser technology is being pursued through an SBIR contract to provide reliable pulsers with agile waveform control, a required capability to compress the beam and correct for space charge effects. Ferromagnetic material development is continuing to look at low-loss, high flux swing material that is affordable. The testing of prototype pulsed and superconducting magnets over the last year has provided the basis for developing both of these magnet systems for the present single beam experiments. A heavy ion fusion driver will require continued technology development in these areas to meet the required performance goals and remain economically feasible.
{"title":"Engineering and enabling technology development for heavy ion fusion drivers","authors":"W. Waldron, B. Logan, L. Ahle, G. Sabbi","doi":"10.1109/FUSION.2002.1027740","DOIUrl":"https://doi.org/10.1109/FUSION.2002.1027740","url":null,"abstract":"The Heavy Ion Fusion Virtual National Laboratory is a collaboration among LBNL, LLNL, and PPPL. The engineering and technology development activities arc closely aligned with the major experimental areas, which include injectors, beam transport, and final focus. High current density ion sources to produce a more compact multiple beam injector are a major focus of the current activities. There are several collaborations with insulator manufacturers to achieve higher gradients while lowering the manufacturing cost and maintaining high vacuum compatibility. Solid-state pulser technology is being pursued through an SBIR contract to provide reliable pulsers with agile waveform control, a required capability to compress the beam and correct for space charge effects. Ferromagnetic material development is continuing to look at low-loss, high flux swing material that is affordable. The testing of prototype pulsed and superconducting magnets over the last year has provided the basis for developing both of these magnet systems for the present single beam experiments. A heavy ion fusion driver will require continued technology development in these areas to meet the required performance goals and remain economically feasible.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2002-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79243583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2002-11-07DOI: 10.1109/FUSION.2002.1027730
K. Masuda, T. Mizutani, K. Yoshikawa, K. Nagasaki, K. Takiyama, H. Toku, H. Hashimoto, A. Nagafuchi
Energy distributions of energetic neutral atoms resulted from charge-exchange reactions between accelerated ions and background atoms or molecules were measured by the Doppler shift spectroscopy in an inertial-electrostatic confinement fusion (IECF) device composed of a spherical vacuum chamber as an anode and a spherical hollow cathode grid concentrically placed in the chamber. Since ions generated between the cathode and the anode by a glow discharge are accelerated toward the spherical center by the electric field, and enter the hollow cathode to give rise to either beam-beam or beam-background colliding fusion, the energy distribution of such ions virtually determines the fusion reaction rate to great extent. The optical emissions from the center were measured in both hydrogen and helium IEC plasmas. The energy distributions in the radial direction were then evaluated from the broadening of the emissions, under an assumption of spherical symmetry. As a result, in both hydrogen and helium plasmas the maximum ion energies measured were found to be approximately 80% of the applied voltage to the cathode. In a hydrogen plasma, three energy peaks are found in the energy spectrum of fast neutrals, indicating almost the same birthplace of H/sub 1//sup +/, H/sub 2//sup +/, and H/sub 3//sup +/ ions at approximately 80% energy of the applied voltage. In contrast, in a helium plasma, the energy peak was found to be much less down to 20% of the applied voltage.
{"title":"Measurement of the energy distribution of fast excited atoms by Doppler shift spectroscopy in an inertial-electrostatic confinement fusion device","authors":"K. Masuda, T. Mizutani, K. Yoshikawa, K. Nagasaki, K. Takiyama, H. Toku, H. Hashimoto, A. Nagafuchi","doi":"10.1109/FUSION.2002.1027730","DOIUrl":"https://doi.org/10.1109/FUSION.2002.1027730","url":null,"abstract":"Energy distributions of energetic neutral atoms resulted from charge-exchange reactions between accelerated ions and background atoms or molecules were measured by the Doppler shift spectroscopy in an inertial-electrostatic confinement fusion (IECF) device composed of a spherical vacuum chamber as an anode and a spherical hollow cathode grid concentrically placed in the chamber. Since ions generated between the cathode and the anode by a glow discharge are accelerated toward the spherical center by the electric field, and enter the hollow cathode to give rise to either beam-beam or beam-background colliding fusion, the energy distribution of such ions virtually determines the fusion reaction rate to great extent. The optical emissions from the center were measured in both hydrogen and helium IEC plasmas. The energy distributions in the radial direction were then evaluated from the broadening of the emissions, under an assumption of spherical symmetry. As a result, in both hydrogen and helium plasmas the maximum ion energies measured were found to be approximately 80% of the applied voltage to the cathode. In a hydrogen plasma, three energy peaks are found in the energy spectrum of fast neutrals, indicating almost the same birthplace of H/sub 1//sup +/, H/sub 2//sup +/, and H/sub 3//sup +/ ions at approximately 80% energy of the applied voltage. In contrast, in a helium plasma, the energy peak was found to be much less down to 20% of the applied voltage.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2002-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81626053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2002-11-07DOI: 10.1109/FUSION.2002.1027672
D. Ponce, H. K. Chiu, M. Condon, I. Gorelov, R. Legg, F. Baity
The recent DIII-D program to upgrade to six 1 MW gyrotrons presented the opportunity to modernize the control and instrumentation systems. The challenge of the system is to allow a small number of operators to control the gyrotrons, which have individual tuning requirements and are sourced from two manufacturers. The main user interface is written in National Instruments' LabVIEW software. Access to PLC functions not available through the LabVIEW interface are provided by Siemens' TISOFT and by Ci Technologies' Citect. The computer control system uses computers connected by ethernet to distribute the control, status, and data functions. The computers which directly interface with the gyrotron system hardware use a rack-mountable and ruggedized compact PCI format. The waveform digitizers and the timing control module, which gates the high voltage power supply, the gyrotron filament boost, and sends the hardware reset and digitizer triggers, are also located in the compact PCI crate. These computers also control hardware responsible for forming the gyrotron pulse shape, programming the sweep coil waveform, setting the waveguide polarizer angles, and detecting asynchronous system events. Many control functions are handled by PLCs which are under computer control. The PLCs are responsible for the vacuum and waveguide systems, access interlocks, filament power supply control, cooling system interlocks, the high voltage power supply interface, gyrotron tank oil interlocks, and launcher mirror control.
{"title":"The DIII-D multiple gyrotron control system","authors":"D. Ponce, H. K. Chiu, M. Condon, I. Gorelov, R. Legg, F. Baity","doi":"10.1109/FUSION.2002.1027672","DOIUrl":"https://doi.org/10.1109/FUSION.2002.1027672","url":null,"abstract":"The recent DIII-D program to upgrade to six 1 MW gyrotrons presented the opportunity to modernize the control and instrumentation systems. The challenge of the system is to allow a small number of operators to control the gyrotrons, which have individual tuning requirements and are sourced from two manufacturers. The main user interface is written in National Instruments' LabVIEW software. Access to PLC functions not available through the LabVIEW interface are provided by Siemens' TISOFT and by Ci Technologies' Citect. The computer control system uses computers connected by ethernet to distribute the control, status, and data functions. The computers which directly interface with the gyrotron system hardware use a rack-mountable and ruggedized compact PCI format. The waveform digitizers and the timing control module, which gates the high voltage power supply, the gyrotron filament boost, and sends the hardware reset and digitizer triggers, are also located in the compact PCI crate. These computers also control hardware responsible for forming the gyrotron pulse shape, programming the sweep coil waveform, setting the waveguide polarizer angles, and detecting asynchronous system events. Many control functions are handled by PLCs which are under computer control. The PLCs are responsible for the vacuum and waveguide systems, access interlocks, filament power supply control, cooling system interlocks, the high voltage power supply interface, gyrotron tank oil interlocks, and launcher mirror control.","PeriodicalId":44192,"journal":{"name":"NINETEENTH CENTURY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2002-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75978197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2002-11-07DOI: 10.1109/FUSION.2002.1027706
M. Friend, P. Anderson, C. Baxi, R. Lee
The DIII-D toroidal field [TF] belt bus system provides an electrical connection between adjacent TF-coil bundles to form a continuous current path for the TF-coil system. There is also a return path which is electrically isolated from the belt bus. The function of the system is to carry TF-coil current while minimizing the TF-coil error field in accordance with physics requirements. The system is currently capable of handling 5 s of operation with a peak current of 127 kA in the TF-coil. Future requirements for the system are the capability to support 10 s operation with 10 min cooldown periods in between shots. Experiments have been carried out which describe the physical parameters of the system, such as the contact resistance across the bus bar joints. Additionally, using an optical fiber-based temperature monitoring unit, the temperature response of the system to operations was determined. Based on these characterizations of the system, a 3-D thermal model was built to predict the behavior of the system for 10 s operations. The limitation of the system is the maximum allowable temperature of approximately 150/spl deg/C for the G11 insulators. The model was constructed full scale per engineering drawings using Solidworks, meshed, and then exported to Cosmos for analysis. Once good correlation was achieved with the observed responses to 5 s pulses, the behavior of the system for 10 s pulses was predicted. Various design modifications, such as water cooled bolts, were simulated in order to estimate their impact on creating a system that meets the 10 s criteria.
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