I detta arbete analyseras Claude Debussys stråkkvartett op.10 i g-moll från 1893. Stråkkvartetten skrevs tidigt i Debussys karriär då han ännu inte förknippades som impressionistisk kompositör. Med frågeställningen Impressionism eller romantik analyseras verket utifrån motiv, form, tematik, satsstruktur, harmonik och instrumentering. Det romantiska formatet i kombination med ett nytt impressionistiskt tonspråk gör verket unikt i sitt slag. Debussy använder sonatform i första satsen men lyssnarens intryck är inte ett verk av romantisk karaktär. Musikens oavbrutna flöde kan förklaras med användning av heltonsskala, kyrkotonarter, staplade dimackord, septim-och nonackord utan förberedelser eller upplösning. Arbetets resultat visar att verket är både romantiskt och impressionistiskt. / In this study, Claude Debussy's string quartet op.10 in G minor from 1893 was analyzed. The string quartet was written early in Debussy's career when he was not yet considered as an impressionist composer. With the question Impressionism or romanticism, the work is analyzed based on motif, form, theme, movement structure, harmony, and instrumentation. The romantic format combined with a new impressionistic sound makes the work unique. Debussy uses sonata form in the first movement, but the listener's impression is not a work of romantic nature. The music's uninterrupted flow can be explained using whole-tone scales, church modes, stacked diminished chords, seventh and ninth chords without preparation or resolution. The results of the study show that the work is both romantic and impressionistic.

Indiana University-Purdue University Indianapolis (IUPUI) / An Adaptive Cruise Control (ACC) system is a driver assistance system that assists a driver to improve driving safety and driving comfort. The design of ACC controller often involves the design of a switching logic that decides where and when to switch between the two modes in order to ameliorate driving comfort, mitigate the chance of a potential collision with the preceding vehicle while reduce long-distance driving load from the driver. In this thesis, a new strategy for designing ACC controller is proposed. The proposed control strategy utilizes Range vs. Range-rate chart to illustrate the relationship between headway distance and velocity difference, and then find out a constant deceleration trajectory on the chart, which the following vehicle is controlled to follow. This control strategy has a shorter elapsed time than existing ones while still maintaining a relatively safe distance during transient process. String stability issue has been addressed by many researchers after the adaptive cruise control (ACC) concept was developed. The main problem is when many vehicles with ACC controller forming a vehicle platoon end to end, how the control algorithm is designed to ensure that the spacing error, which is the deviation of the actual range from the desired headway distance, would not amplify as the number of following vehicles increases downstream along the platoon. In this thesis, string stability issues have been taken into consideration and constraints of parameters of an ACC controller are derived to mitigate steady state error propagation.

What is generally referred to by the public-at-large as “modernism” is thought (by it) to be based upon the denial and contradiction of the fundamental principles of musical art. But it would be a grave error to assume from this that the present age differs in the attitude toward modernism very considerably from any other, except perhaps in degree. The general intellectual or artistic niveau of any period whatsoever is almost inevitably a low one, apart from a few outstanding figures -- rarely exceeding two or three in any single generation -- who impart most of the significance to it. One is too prone to forget that art is somewhat different from other human activities in that the achievement of one man of genius far outweighs that of any number of mediocrities put together, even though he may be outnumbered by them in the ratio of a thousand to one. Even though it is rare, if not impossible, to find a man of solitary genius who is not indebted to at least one or several lesser men for his achievements it still holds true that a thousand noughts added together only amount to nothing in the end. It is the inability to recognize this simple truth that is primarily responsible for the all-too-familiar charge of decadence which is increasingly brought by each successive generation against its contemporary artists, even in the most incomparably fertile periods of artistic activity. In Bartok’s music one can feel a rich humaneness. The mechanization of music as found in Stravinsky, and the constructivism of Schoenberg in later years, are equally alien to Bartok. No matter how new his music, no matter how far he ventures into unexplored tonal spheres, his music never loses its inherent warmth. His keen mind, thinking clearly and surely, does not chill the emotion and does not allow the soul to freeze, as do the intellect of Schoenberg and the calculated objectivity of Stravinsky. Regardless of how much Bela Bartok condenses music and reduces it to the very essential of tone and rhythm, and even when he seeks heights where the atmosphere becomes thin and cold, music remains an art of the soul, of its grief and sorrow. The songs of the people, from whom Bela Bartok is descended, still resound into the lonely spheres in which the spirit of a great composer sought a new truth

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När jag blickar tillbaka på när jag själv gick på kulturskola och spelade cello som barn var det inte mycket fokus på hur jag skulle öva, bara att öva. Med denna studie har jag valt att undersöka hur stråkinstrumentlärare ger ut övningsstrategier och hur de motiverar sina elever till att öva. Den tidigare forskning som lyfts fram visar att elever ska få metoder för att kunna arbeta självständigt och att elever ska kunna utveckla en förståelse för vilken typ av övning som bör betonas. Ansvaret för lärande ligger hos elever men att dom är beroende av musiklärare för vägledning och motivation. Genom semistrukturerade intervjuer som datainsamlingsmetod syftar föreliggande studie till att studera stråkinstrumentlärares syn på övning och motivation. Forskningsfrågorna som ligger till grund för arbetet berör hur stråkinstrumentlärare erfar och uppfattar elevers övning och motivation i sin egen musikundervisning, vilka ideal och förväntningar lärarna har på sina elever samt lärares metoder för att lära ut. Metodmässigt har studien sin grund i kvalitativa ansatser med en fenomenologisk utgångspunkt. Resultatet av studien visar att stråkinstrumentlärare uppfattar övning som ett stort begrepp och att det finns många vinklar att se övning på. Det framkommer att elevers önskan på vad de själva vill spela är oerhört betydelsefullt för eleverna. Ett till resultat visar på genom att öva utvecklar sig elever på sitt instrument och stycke, därmed kan elever tycka det är roligare att spela ihop med andra människor just för att de har övat på sina stycken, vilket kan bli motivation till att öva. Avslutningsvis förs en diskussion kring studiens resultat och huruvida övning och motivation kan hänga ihop och hur stråkinstrumentlärare motiverar genom löften. Själva övandet i sig självt är en inre drivkraft som är motiverande samt att övandet innehåller en bekräftelse på att det är någonting elever kan, vilket ger ett löfte på att elever kommer kunna klara av det dom spelar.   Nyckelord: Övning, motivation, stråkinstrumentlärare, fenomenologiskt perspektiv, intervjuer / When I look back on when I went to music school and played the cello as a child, there was not much focus on how I should practice, just to practice. I have with this study chosen to investigate how string instrument teachers publish practice strategies and how they motivate their students to practice. Previous research that highlights shows that students should be given methods to be able to work independently and that students should be able to develop an understanding of the type of exercise that should be emphasized. It is the student’s responsibility to learn, but they are dependent on music teachers for guidance and motivation. Through semi-structured interviews as a collection method of data, this essay aims to study string instrument teachers views on practice and motivation. The research questions that form the basis of the study concern how string instrument teachers experience and perceive students practice and motivation in their own music teaching, what ideals and expectations teachers have of their students and teacher’s methods of teaching. Methodologically, the study is based on qualitative approaches with a phenomenological starting point. The result of the study shows that string instrument teachers perceive exercise as a big concept and that there are many angles to look at practice. It turns out that student’s desire for what they themselves want to play is extremely important for them. Another result shows that by practicing, students develop on their instrument and piece, thus students may find it more fun to play with other people precisely because they have practiced their pieces, which can be motivation to practice. Finally, there is a discussion about the results of the study and whether practice and motivation can be connected and how string instrument teachers motivate through promises. The practice itself is an inner driving force that is motivating and to practice contains a confirmation that it is something students can do, which gives a promise that students will be able to cope with what they play. Keywords: Practice, motivation, string instrument teacher, phenomenological perspective, interview

String cheese, a Mozzarella cheese, has the unique ability to string in fibrous strands when pulled apart. Graders judge string cheese by its stringy texture; samples with copious amounts of string are awarded high ratings. But just as the texture of natural cheeses softens with time, the stringy texture of string cheese can diminish with age too. Age related softening in cheese is due primarily to an important biochemical event known as proteolysis, which is attributed to inherent milk proteinases, residual coagulant activity, and enzymes from the lysis of starter culture microorganisms. It is hypothesized that a post manufacture heat treatment of string cheese could inactivate these proteolytic enzymes and slow or eliminate proteolysis during storage. Therefore, the main objective of this study was to determine the effects of a post manufacture thermal dip treatment on proteolytic activity in packaged, commercial string cheese. Proteolysis was examined qualitatively by Urea-PAGE electrophoresis, quantitatively by measuring percentage of water-soluble nitrogen (%WSN), and by using a scoring method to analyze stringy texture during refrigerated storage. Fresh, commercial string cheese was sourced on two separate occasions and treated six days after manufacture. Treatment consisted of dipping the packaged cheese sticks in water baths at 55°C, 75°C, and 95°C for 30 and 60 seconds. String cheese that did not undergo treatment served as the control. Treated and control cheeses were stored at 4°C until sampling for Urea-PAGE, WSN extraction, and texture analysis on days 1, 11, 22, 29, 49, 91, and 172 after treatment. The degree of β-CN breakdown was not observed to be different between all treatment levels throughout the storage period. This was not expected since Mozzarella cheese exposed to a higher temperature should have more plasmin activity than that of cheese exposed to a lower temperature. There was a trend of slightly more intact αs1-CN in the most severely treated string cheese (95°C for 60s) when compared to the control at the final time point of the study. This suggests the possibility of successful inactivation of residual coagulant, intracellular enzymes, or other proteolytic enzymes in the string cheese at this treatment. However, only storage time had a significant effect on %WSN (p The research completed in this study provides insight of the proteolytic effects from a thermal treatment process applied post string cheese manufacture. Though relationships between the treatments to the extent of secondary proteolysis and stringy texture were not significant, it was still found that there was more intact αs1-CN due to one of the treatments. These results suggest that it is possible that the use of other heat treatment parameters, longer storage period, or a combination of the two could show a significant relationship between thermal treatment and proteolysis. These results also suggest that further work to improve shelf life of string cheese or other cheese varieties through the concept of a post manufacture heat treatment may be promising.

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The Swampland program is way of sorting effective field theories based on conjectures of how an effective field theory consistent with quantum gravity should look like. In this thesis we take a closer look at the No Global Symmetries Conjecture, the Weak Gravity Conjecture, the de Sitter Conjecture and the Trans-Planckian Censorship Conjecture. The Weak Gravity Conjecture generalized to arbitrary dimensions and p-forms is tested under dimensional reduction and its sharpened version is used to discuss how under this conjecture non-supersymmetric AdS geometries are unstable. The de Sitter Conjecture and the Trans-Planckian Censorship Conjecture are compared to show that they give similar predictions based on different assumptions. Lastly we provide an example of a theory emerging from the swampland that utilizes the instability of AdS geometries to model our universe as the boundary of a higher dimensional expanding bubble. / Swampland-programmet är ett sätt att sortera effektiva fältteorier baserat på antaganden om hur en effektiv fältteori förenlig med kvantgravitation bör se ut. I den här avhandlingen tittar vi närmare på No Global Symmetries-antagandet, Weak Gravity-antagandet, de Sitter-antagandet och Trans-Planckian Censorship-antagandet. Weak gravity-antagandet generaliserat till godtyckliga dimensioner och p-former testas under dimensionsreduktion och dess skärpta version används för att diskutera hur man via detta antagande finner en instabilitet i icke-supersymmetriska AdS-geometrier. De sitter-antagandet och Trans-Planckian Censorship-antagandet jämförs för att visa att de ger liknande förutsägelser baserat på olika frågeställningar. Slutligen ger vi ett exempel på en teori som växer fram ur programmet som använder instabiliteten hos AdS-geometrier genom att modellera vårt universum som randen på en expanderande bubbla i högre dimensioner.