This study is an examination of Earl Hatch and Clair Musser's transcriptions for marimba of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Frank Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba transcription, and performance considerations of the specific works presented are discussed.

We discuss the physical problem of a molecule interacting with an electromagnetic field pulse and model the problem using a time-dependent perturbation of the Born-Oppenheimer approximation to the Schrodinger equation. Using previous results that develop asymptotic series solutions in the Born-Oppenheimer parameter ε, we derive a formal Dyson series expansion in the perturbation parameter μ, which is proportional to the electromagnetic field strength. We then prove that this series is asymptotically accurate in both parameters, provided that the Hamiltonian for the electrons has purely discrete spectrum. Under more general hypotheses, we show that the series is accurate to first order in μ, and that it is accurate to one higher order if we place conditions on the abruptness of the EM pulse. We also show how this series development provides a justification for the Franck-Condon factors in the case of a diatomic molecule. / Ph. D.

Syftet med arbetet var att genom analys av olika aspekter av César Francks Orgelkoral i E- dur fördjupa min instudering av verket för att på bästa sätt kunna framföra det på min examenskonsert och vidare framgent. Metoden som användes bestod av att undersöka Francks bakgrund och miljön han var verksam i, vilka som var de viktiga influenser som formade Franks tonspråk, vilka som var de stilistiska riktlinjerna som gällde när verket blev komponerat, vilka säregenheter hade orgeln Franck spelade på och på vilket sätt den influerade hans kompositioner samt vilka notutgåvor som är mest lämpliga för instudering av verket. Jag har gjort form- och harmonianalys, läst andras forskning och lyssnat på olika inspelningar av verket. Studiens konklusion är att nationalismen som svepte över det franska samhället efter fransk-preussiska kriget 1870–1871 var en viktig stimulans i Francks kreativitet. Han letade efter det franska uttrycket samtidigt som han var djupt influerad av tyska kompositörer som Bach, Beethoven och Wagner. Det resulterade i ett originellt tonspråk och nya experimentella grepp i behandlingen av kompositionsform. Koralen i E-dur är ett exempel på detta. Franck var känd som duktig orgelimprovisatör och han blev mer uppmärksammad som kompositör mot slutet av sitt liv. Han komponerade både profana och sakrala verk för många olika instrumentbesättningar. Orgeln i basilikan St. Clotilde där Franck arbetade större delen av sitt liv har färgat hans registreringsanvisningar och klangidealen. Orgeln har en ovanligt mjuk oboe och trumpet i svällverket som Franck ofta använder som grundklang i sina verk tillsammans med fonds. Detta problematiserar framförande av hans verk på andra orglar i och med att det är svårt att återskapa samma klangbild. Detta kan i vissa fall tvinga organisten till kompromisser i valet av registreringar. Det finns många notutgåvor av verket. Om man vill ha en urtextutgåva är det bra att vända sig till Dr. J. Butz utgåvan eller Wayne Leupold Editions som använder sig av kopian av verkets första tryckta utgåva. Att framföra E-dur koralen kräver att organisten har teknisk flexibilitet och bra fingersättningar och pedalapplikatur, god formell översikt av verket, översikt över kadenser och höjdpunkter, ett avvägt rubato och en nypa fantasi. / <p>Konsert: C. Franck: Oregelkoral E-Dur; Orgelkoral h-moll.</p><p>Medverkande: Majda Burstedt, orgel</p><p></p>

Achieving the quantum control of ever more complex systems has been a driving force of atomic, molecular, and optical physics. This goal has materialized in the harnessing of systems with increasingly rich structures and interactions: the more sophisticated the system, the more faceted and fascinating its application to fields as varied as quantum simulation, quantum information, many body physics, metrology, and quantum chemistry. One of the current frontiers of quantum control is ultracold dipolar molecules. They present rich internal structures and long-range, anisotropic dipole-dipole interactions which promise to revolutionize AMO physics, for example by realizing realistic Hamiltonians in quantum simulation, by providing a new platform for quantum information, and by achieving a novel kind of quantum liquid. Despite its promises, the full quantum control of dipolar molecules has been over a decade in the making. The difficulties in either directly laser cooling molecules or in collisionally stabilizing their bulk samples have been major roadblocks that have hampered the development of this quantum system. The realization of a Bose-Einstein condensate of dipolar molecules has been a particularly elusive milestone. In this thesis, I report on the first observation of this quantum state of matter. The work that brought us to this achievement parallels the historical evolution of AMO physics in the last thirty years. To reach a BEC of molecules, we initially constructed a dual species experiment capable of realizing the simultaneous Bose-Einstein condensation of atomic sodium (Na) and cesium (Cs). Individual BECs of sodium and cesium were first reported in 1995 and 2003 respectively, while our experiment was the first instance of their concurrent condensation. The study of the Na-Cs interatomic scattering properties in an homogeneous magnetic field showed us the path to the Feshbach association of loosely-bound sodium-cesium (NaCs) molecules, a technique first demonstrated in 2006 for heteronuclear molecules but never attempted on our species. Following the Feschbach association, we determined a novel pathway to the molecular electronic, vibrational and rotational ground state using STIRAP. From this point, we found ourselves at the forefront of the field: bulk samples of bosonic molecules such as NaCs had neither been stabilized against collisional losses nor evaporatively cooled. At first, we successfully applied a single-frequency microwave shielding approach to decrease in-bulk losses by a factor of 200 and reach lifetimes on the order of 2 s, allowing us to measure high elastic scattering rates and characterize their dipolar anisotropy. Moreover, we demonstrated the first evaporative cooling of a bosonic molecular gas by increasing its phase-spacedensity by a factor of 20 and reaching a temperature of 36(5) nK. Since this proved insufficient to achieve Bose-Einstein condensation due to unexpected three-body losses, we introduced an enhanced microwave shielding technique, double microwave shielding. This further decreased loss rates enabling efficient evaporative cooling of our sample to a long-lived Bose-Einstein condensate of dipolar molecules. This new double microwave shielding technique also allows the tunability of the strength of dipole-dipole interaction, establishing ultracold bosonic dipolar molecules as a new quantum liquid for the exploration of many body physics. In addition to the experimental work on dipolar NaCs, we have theoretically explored the field of direct molecular laser cooling. Our aim was twofold: we aimed to expand the category of molecules that can be laser cooled and to simplify the identification of laser cycling schemes. For the former goal, we lifted the widespread assumption that only molecules with diagonal Franck-Condon factors could be laser cooled. For the latter, we decided to employ publicly available repositories of molecular transitions. A second consequence of the use of these databases is that they contain data on molecules of interest to other scientific fields, further establishing direct laser cooling as a technique that could be of interest beyond AMO physics. Our work was successful in that we identified laser cycling schemes for C₂ and OH+. To simplify the determination of laser cycling schemes, we developed a graph-based algorithm form their identification starting from spectroscopic data.

Cette recherche propose une analyse critique de l'éthique de la responsabilité de Hans Jonas en rapport avec sa philosophie de la biologie. Une attention particulière est consacrée à l'ontologie du vivant que propose le philosophe. Nous avons fourni un fondement anthropologique au système jonassien en nous appuyant sur le philosophe français contemporain Franck Tinland. Ce soubassement anthropologique nous a permis d'identifier un fondement possible à l'origine naturelle du sentiment moral dans la notion de responsabilité chez Jonas, et de formuler, ainsi, une hypothèse concernant l'émergence de l'éthique au fil de l'évolution.

Les dernières évolutions technologiques en matière de laser ont permis l'observation de nouveaux phénomènes hautement non-linéaires lors de l'interaction de ces sources brèves et intenses avec la matière. Du point de vue moléculaire, ces processus, tels que l'affaiblissement de la liaison ou la génération d'harmonique, sont consécutifs à la création au sein de l'ion d'un paquet d'onde vibrationnel après ionisation par effet tunnel de la molécule neutre. Il est généralement admis dans nombre d'articles que cette transition électronique conduit à une distribution des états de vibration conforme à celle prédite par l'approximation de Condon. Afin de vérifier la validité de cette assertion, nous avons mis en place un dispositif expérimental original permettant une mesure fiable de l'excitation vibrationnelle de H2+ après ionisation de la molécule neutre par un champ laser intense. Les résultats obtenus contredisent fortement le postulat selon lequel la transition aurait lieu préférentiellement à la séparation internucléaire d'équilibre (approximation de Condon) et remettent en cause les interprétations des expériences de dynamique moléculaire précédentes. En faisant varier la longueur d'onde, nous avons également mis en évidence les processus dominants et l'importance de la structure électronique au sein des différents domaines d'ionisation. Ces mesures ouvrent des perspectives intéressantes quant à la mise en place d'expériences de dynamique moléculaire utilisant un faisceau d'ions moléculaires d'excitation vibrationnelle connue. / The continuing development of femtosecond laser technology allows the study of new, highly non-linear phenomena in laser-molecule interaction. Most scientists agree that the first step of all these processes is the creation of an elctronic wavepacket in the continuum by tunnelling ionisation of the neutral molecule. As a rule, most publications were also unanimous about the vibrational population created in the ion, asumed to be properly described by the classical Condon approximation. Thanks to a unique setup we were able to measure in an unambiguous way the vibrational distribution created by intense-laser-field ionisation. Our study shows a discrepancy between our results and the one predicted by the Condon approximation. Other wavelength-dependent measurements reveal the dominant processes for the different ionisation regimes. These results open new experimental perspectives for the study of the molecular dynamics.

The thesis consists of five chapters. Chapter One is the discussion of background, including the development of keyboard music after 17th century in France, and famous composers with their styles of creation. Chapter Two focuses on C&#x00E9;sar Franck¡¦s developmental track of music and his creation of masterpieces. Chapter Three depends on compositional style, dividing into two periods to discuss Franck¡¦s piano music. Chapter Four mainly introduces Franck¡¦s unique creative technique of piano music, featuring the traditional influence from polyphonic and contrapuntal music in Baroque era, cyclic form, phrasing structure and harmonic language. Chapter Five separately discusses formal structure and characteristic features in Pr&#x00E9;lude, Chorale et Fugue and Pr&#x00E9;lude, Aria et Final. Finally, we make a conclusion for the whole research. In 19th century, Franck was one of the most important piano composers in France. Pr&#x00E9;lude, Chorale et Fugue and Pr&#x00E9;lude, Aria et Final were his most important works, sufficiently presenting Franck¡¦s distinguished compositional style. They opened not only a new field for his composite of piano music, but also brought deep influence on many following composers.

Cette thèse consiste en une étude de jonctions tunnels à Quantum Dot (QD) unique. Le second chapitre présentera une introduction aux concepts fondamentaux nécessaires à la description d’une telle jonction. Dans le troisième chapitre, je décrirais les méthodes de fabrications et de mesures. Dans le quatrième chapitre, je décrirais une étude par spectroscopie tunnel de QDs PbS. Trois signatures distinctes du couplage électron-phonon sont observées dans le spectre tunnel. Dans le régime de « remplissage de couches », la dégénérescence d’ordre 8 des états est levée par les interactions de Coulomb et permet l’observation des sous-bandes de phonons résultant de l’émission de phonons optiques. A faible tension, une bande interdite (gap) est observée dans le spectre, laquelle ne peut être fermée avec la tension de grille, ce qui est une signature caractéristique du blocage de France-Condon. A partir de ces données, un facteur de Huang-Rhys de l’ordre de S~1.7-2.5 est obtenu. Finalement, dans le régime de « shell-tunneling », les phonons optiques apparaissent dans le spectre tunnel inélastique d2I/dV2. Dans le cinquième chapitre, je présente une étude du spectre tunnel de QDs HgSe. En appliquant une tension de grille, différents niveaux d’occupation du QD peuvent être atteints. La valeur de la bande interdite change avec le niveau d’occupation. Une valeur de 0.9 eV est observée pour l’inter-bande (QD vide), une valeur de 0.2 eV est observée pour l’intra-bande (QD occupé par 2 e). Sous illumination, un photocourant peut être mesuré en utilisant une technique de démodulation. De cette mesure, une durée de vide τ ~ 65 μs est extraite pour la paire électron-trou photo-générée. / My PhD work consists in a study of single Quantum Dot (QD) tunnel junctions. Following the introduction chapter, the second chapter will present the fundamental concepts needed to describe a single QD junction, such as quantum confinement and Coulomb blockade. In the third chapter, I will describe the sample fabrication methods and the measurement setups. In the fourth chapter, I will describe a tunneling spectroscopy study of single PbS QDs. Three distinct signatures of strong electron-phonon coupling are observed in the Electron Tunneling Spectrum (ETS) of these QDs. In the shell-filling regime, the 8 times degeneracy of the electronic levels is lifted by the Coulomb interactions and allows the observation of phonon sub-bands that result from the emission of optical phonons. At low bias, a gap is observed in the spectrum that cannot be closed with the gate voltage, which is a distinguishing feature of the Franck-Condon blockade. From the data, a Huang-Rhys factor in the range S~ 1.7 - 2.5 is obtained. Finally, in the shell tunneling regime, the optical phonons appear in the inelastic ETS d2I/dV2. In the fifth chapter, I present a tunnel spectroscopy study of single HgSe QDs. Upon tuning the gate voltage, different occupation levels of the QD can be reached. The gap observed in the ETS changes with the occupation level. A large inter-band gap, 0.9~eV, is observed for the empty QDs, and an intra-band gap 0.2~eV is observed for the doubly occupied QD. Upon illuminating the QD, a photocurrent can be measured using an especially designed demodulation technique. From this measurement, the lifetime τ ~65 μs is extracted for the photogenerated electron-hole in the QD.

No description available.

Parisian musical life underwent a tectonic shift in the late nineteenth century. Throughout the 1800s, and particularly during the Second Empire (1852-70), opera and other forms of theatrical entertainment had dominated the French musical scene. In the final decades of the century, however, a generation of French composers devoted considerable efforts to large-scale symphonic forms. A driving force in the advancement of orchestral music was the "Franck circle" or bande à  Franck--a group of more-or-less young composers mentored by an unassuming organ professor at the Paris Conservatoire. In their symphonic works, these musicians challenged the longstanding Austro-German dominance of serious instrumental genres and cultivated a distinctly French musical voice. This dissertation explores the burgeoning symphonic culture of Paris circa 1880-1900 by examining four representative compositions by prominent members of the Franck circle: Augusta Holmès's Les Argonautes (1880), Ernest Chausson's Viviane (1882-83, revised 1887), César Franck's Psyché (1886-87), and Vincent d'Indy's Istar (1896). Each of these pieces, the subject of an individual chapter, offers a study in the relationship between compositional practice and cultural identity. The critical success of Les Argonautes catapulted Holmès to national prominence and established her reputation as one of the most progressive composers in France. Chausson's extensive revisions to Viviane, his first major orchestral work, reveal his evolving attitudes about descriptive music and Wagner--the composer who cast the longest shadow in fin-de-siècle France. Although Franck based Psyché on a legend from Greek antiquity, his approach to musical signification allowed his disciples to interpret the piece variously as a Christian allegory or as absolute music. D'Indy's polemical stances on genre, artistic influence, and morality belie the ideological complexities and paradoxes in his Istar. In addition to illuminating these works through reception history, musical analysis, manuscript studies, and the composers' own writings, the dissertation will address three interrelated topics in each chapter. First, I explore how the bande à  Franck understood the concept of "serious" music, and how this conception shaped Third Republic attitudes about orchestral genres, absolute music, and program music. Second, I examine how French composers responded to the legacy of Wagner in non-theatrical genres. Finally, I discuss how these four musicians fashioned a cultural, national, and personal identity through--and sometimes in tension with--their orchestral works.