Abstract The first part of this monograph discusses the asymmetric, ylide based, reagent controlled epoxidations. Both different chiral ylides and epoxidation processes, stoichiometric and catalytic, are reviewed. In the following part, new chiral sulfide catalysts were discovered as enantioselective catalysts for the Corey-Chaykovsky reaction (epoxidation of aldehydes via sulfonium ylides). Using a crystal structure of an oxazolidine derivative as a starting point, a thiazolidine ligand family was designed, synthesized and finally employed as catalysts in the asymmetric epoxidation of benzaldehyde. The ligands were prepared starting from L-valine, L-tert-leucine, D-penicillamine and L-cysteine. The differently tuned thiazolidine ligands were demonstrated to catalyze the formation of trans-stilbene oxide with varying enantioselectivities. On the basis of these results, a mechanistic rationale for the asymmetric induction was presented. The results heavily demonstrated the importance of ring rigidity as an affecting factor in the enantioselectivity of the tested thiazolidines.

As attention on the music of Mieczysław Weinberg (1919-1996) has increased in the years after his death, so has the need for an analytical study of his musical style and language. This thesis surveys Weinberg’s changing style through a genre that spans almost his entire output: the string quartet. His close friendship and artistic affinity with Shostakovich helps make his music accessible to a wider audience, though closer examination reveals Weinberg’s individuality and a quite distinct language from that of his mentor. In support of this contention, a wide range of analytical approaches is deployed in this dissertation, along with a pragmatic methodology for presenting a holistic overview of Weinberg’s quartets. Weinberg’s quartet cycle occupies an important place in twentieth-century music, with parallels to Shostakovich, Bartók, and other Soviet composers, including Myaskovsky, Shebalin, Levitin, and Boris Chaykovsky; correspondences and distinctiveness are explored in the second chapter. The third chapter surveys Weinberg’s musical narratives, with recourse to theories from Kofi Agawu, Boris Asafiev, and Jacques Derrida. Form is the focus of the fourth chapter, where ideas from Mark Aranovsky, and James Hepokoski and Warren Darcy are deployed to highlight Weinberg’s problematising of traditional forms in his music. Chapter five explores Weinberg’s multi-faceted approach to harmony, with concepts expanded from Lev Mazel, Yury Kholopov, and the neo-Riemannian school of analysis. The picture that emerges is of Weinberg’s individuality and distinctive voice, manifested in a controlled experimentalism and a tendency towards extended lyricism. His affinity with better-known composers may prove an approachable entry-point for wider audiences, but many of the most striking elements in his quartet cycle are of his own invention. His quartets stand as an important contextual dimension for understanding Shostakovich’s cycle, and also for appreciating the broader repertoire of Soviet chamber music. As his centenary approaches, engagement with Weinberg’s music continues to increase: this thesis provides contexts and analysis-based conclusions to complement this ongoing revival.