Denna uppsats är en beskrivning av min examenskonsert och förarbetet inför den. Jag berättar om verken jag spelade: César Francks Cellosonat i A-dur och Sjostakovitjs Pianotrio No. 2. Uppsatsen innehåller även information om tonsättarnas och verkens bakgrund, jag analyserar verken och reflekterar kring min upplevelse av konserten. Mina slutsatser är att jag hade goda förutsättningar för att göra en konsert då jag planerade i god tid inför den, spelade med duktiga musiker och hade en mycket trevlig publik. Jag kommer också fram till att historien bakom verken förändrade och berikade mina konstnärliga tolkningar. / <p>César Franck, Cellosonat i A-dur, sats 1 och 2, Arr. Jules Delsart. Dmitrij Sjostakovitj, Pianotrio no. 2, op. 67. Linnea Vikström-cello, Iveta Calite-piano, Christopher Sandberg-violin, Joakim Martinsen-piano.</p>

This thesis presents extended program notes for a sixty-minute violin graduate recital consisting of the following repertoire: César Franck, Sonata for Piano and Violin; Peter Sculthorpe, Irkanda I for solo violin; Ernest Chausson, Poème; Béla Bartók, Violin Concerto No. 2. Composed over the past two centuries, these works display a variety of styles and musical forms. The content of this thesis features detailed information on these works through historical study and musical analysis.

The aim of this work is to investigate projection operator method of deriva- tion of equations of motion for reduced density matrix and apply it to a model open quantum system. We gradually pass from quantum mechanical model of a molecule with one vibrational degree of freedom to an example of open quantum system relevant in the theory of nonlinear spectroscopy. In the thesis we present results of numerical simulations of the time evolution of the open quantum system performed with a program written for this purpose. We are specially concerned with simulations of the solution of the time-convolutionless generalized master equation up to the a second order of the perturbation expan- sion, and we show that under certain conditions it provides an exact solution of the problem. The text also contains derivation of the recurrence relations for the Franck-Condon factors for the most general case of two quantum harmonic oscillators in one space dimension, i. e. transformation matrix between two bases of the L2 (R) space determined by the solutions of the time-independent Schrödinger equation appropriate for these oscillators. 1

Os fundamentos para os métodos algébricos unidimensionais baseados na álgebra de momentum angular su(2)(clássica e deformada) são apresentados numa forma adequada à descrição de vibrações moleculares de sistemas diatômicos e de sistemas poliatômicos planares com simetria C_{2v}. Aplicações detalhadas envolvendo os estados vibracionais e seus respectivos potenciais foram exaustivamente desenvolvidas para os dois primeiros estados eletrônicos (A-X Sigma) dos sistemas diatômicos LiH (e seus isotopômeros), NaH, KH, RbH, CsH, e Li2. Alguns outros estados eletrônicos mais excitados também foram analisados algebricamente. Os potenciais vibracionais semi-clássicos foram calculados via estados coerentes do grupo SU(2). Calculamos também fatores de Franck-Condon usando as autofun{ções de Morse diretamente, sem qualquer necessidade de linearizações. O presente trabalho é a análise algébrica mais detalhada até o momento sobre moléculas diatômicas, pois envolve um grande número de moléculas distintas e seus estados eletrônicos excitados, os quais ainda não haviam sido analisados algebricamente. Além disto, outras propriedades físicas, como os fatores de Franck-Condon e potenciais vibracionais foram discutidos aqui em detalhes pela primeira vez. O propósito deste trabalho foi de servir como um laboratório para futuras aplicações de modelos algébricos unidimensionais a sistemas moleculares maiores, onde suas potencialidades e, principalmente, suas limitações pudessem ser testadas de forma clara. Além disto, devemos destacar também o aumento expressivo na quantidade de trabalhos sobre moléculas diatômicas e triatômicas devido à importância destas em questões de interesse mundial, como o efeito estufa, e questões de relevância acadêmica, como a espectroscopia em tempo real e de moléculas frias.

The manuscripts and published editions of the sacred choral works by Belgian composer Joseph Jongen sacred choral music were collected and listed, detailing the discernable pertinent characteristics of each work. Jongen is predominantly known for his organ works, but his choral works constituent a worthy contribution to the vocal music repertoire, especially his Mass, Op. 130. Jongen's music reflects the Impressionistic style while stemming from the school of César Franck. Choral directors and other musicians interested in Jongen's sacred choral works can use this work when exploring new repertoire. A short overview of Jongen's life is included based upon the information given in John Scott Whiteley's comprehensive book, Joseph Jongen and His Organ Music. The conductor's analysis provides a complete description of the Mass, Op. 130 with rehearsal and performance considerations. Phrase analysis graphs enhance the written analysis, and a discography of Jongen's sacred choral music completes this work.

The X-ray absorption spectrum of silicon in of SiCl4 has been calculated for the LIII and LII edges. The resulting spectrum has been vibrationally resolved by considering the symmetric stretch vibrational mode and the results has been compared to experiment [4]. One peak from the experiment was found to be missing in the calculated vibrationally resolved spectrum. The other calculated peaks could be matched to the corresponding experimental peaks although significant basis set effects are present. An investigation of one peak beyond the Franck–Condon principle shows it to be a good approximation in the case of the studied system.

The purpose of this portion of the thesis project was to make a study of the Sonata in A major for violin and piano by Cesar Franck, presented as one of the major works on the second of the two recitals performed in partial fulfillment of the thesis requirement for the degree, Specialist in Education. Of the music performed on the two recitals, the writer felt that the most challenging, from the standpoint of interpretation and of the violin technique involved, was the Franck sonata. Therefore, she has made a formal analysis of the composition as well as an investigation into the technical and musical problems arising in actual performance. It is the writer's belief that the results of the investigation will not only affect her own future performances of the sonata, but ray also be of benefit to other violinists in their study of this sonata.With Cesar Franck the cyclic treatment of thematic material was established as an important principle of composition. The writer presents a thematic analysis of the sonata in which she points out the various ways in which the composer makes use of the cyclic principle. Particular attention is given to the process of motivic development in the transformation of thematic material. The investigation shows that in the Sonata for violin and piano by Franck a single basic idea seems to dominate the entire composition, i.e., the rising and falling inflection of a germ-motive which characterizes the principal themes of the four movements. The movements are further interrelated by the appearance of common thematic material, in either identical or altered form.The formal structure of each movement was determined, and a complete thematic analysis is given. A synopsis of this analysis appears at the end of Chapter V, Analysis of the Sonata in A Major.There is an unusual departure from the "standard" sonata movement scheme in that the first movement, Allegretto ben moderato, serves as an extended "prologue" to the principal movement which appears second. Thus movement II, Allegro, is in fully developed sonata form. It contains two main themes of contrasting character, each theme having three distinct parts. The third movement, which is free and improvisatory in mood and structure, is aptly titled, Recitativo-Fantasia. The finale, Allegretto poco mosso, appears as a unique kind of rondo in which the theme of the refrain is treated as a canon at the octave.In the study of the sonata, harmonic analysis was aimed chiefly toward determining the. structural framework of the composition as a means of understanding the musical progression although a chordal analysis was presented where it seemed significant. The harmonic material is highly chromatic, as is characteristic of the Romantic period, with much use being made of the dominant ninth chord, diminished seventh chord and augmented sixth chord.Problems of violin technique, including those of bowings and fingerings, were investigated and suggestions as to their solution are offered. It is seen that a mastery of the basic detache stroke, smooth legato bowing and accuracy in the high positions are required above all. There is a noticeable absence of the use of special effects, which are unnecessary for the projection of the work. A few double and triple stops occur in the second movement while the only four-note chord is in the third movement. Trills occur at the end of the second movement and also in the Recitativo. For uniform tone color several passages require the player to play in an extended range on the same string.Great demands in the way of energy and physical stamina are required of the violinist in order to provide the variety and quantity of sustained tone necessary for proper balance with the piano.Suggestions relating to dynamics, subtleties of phrasing and accent, as well as reference to tempo and mood are made to aid in the projection of the music.This study supports the belief that in the performance of duosonata music there are no requirements separate from those for other concerted music. An effective interpretation, based on a thorough understanding of the music and a scholarly approach to the composer's musical intentions are basic requirements in both forms of music making. In addition, it is up to each player to extend his understanding of the complete score in order to perceive his role as both soloist and accompanist as the music demands.

<p>The X-ray absorption spectrum of silicon in of SiCl4 has been calculated for the LIII and LII edges. The resulting spectrum has been vibrationally resolved by considering the symmetric stretch vibrational mode and the results has been compared to experiment [4]. One peak from the experiment was found to be missing in the calculated vibrationally resolved spectrum. The other calculated peaks could be matched to the corresponding experimental peaks although significant basis set effects are present. An investigation of one peak beyond the Franck–Condon principle shows it to be a good approximation in the case of the studied system.</p>

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