Inaug.-Diss.--Berlin. / "Dissertatio inauguralis quam ad summos in philosophia honores impetrandos consensu et auctoritate amplissimi philosophorum ordinis in Alma Litterarum Universitate Friderica Guilelma Berolinensi." "Promotio sollemnis habebiter: 23 Juli 1904." Vita. Includes bibliographical references.

It has been shown that alkaloids from various sources are vital as lead compounds in medicinal research and thus also the efficient synthesis of these. With the goal of developing a general synthetic route that can potentially access pyrrolizidine, indolizidine, quinolizidine and possibly lehmizidine alkaloid skeletons, a modified route that has been shown to produce pyrrolizidines was employed towards the synthesis of indolizidine alkaloid 223AB. Within this synthesis, a 6-endo-dig hydroamination-cyclization step was attempted for construction of the bicyclic system. For this purpose, a selection of titanium-based catalysts were synthesized in order to determine their regiochemical outcome. For the purpose of investigating ab initio the mechanism of regioselective hydroamination, the skills and methods involved in computational chemistry were acquired through a study into amide rotational barriers: A range of novel 2-oxo-2H-chromen-7-yl dimethylcarbamates were synthesised containing either an oxygen or sulphur in the α-position to the carbonyl or thiocarbonyl group of the amide moiety. Microwave synthesis was essential for the successful synthesis of some of the sulphur containing carbamates. The barriers to internal rotation of each of these compounds were investigated as follows. Variable Temperature and Exchange Spectroscopy NMR was performed on these compounds and the barrier to free amide rotation was calculated. Each of these compounds were also modeled ab initio and the gas phase barrier to rotation calculated. These three sets of data were compared and the influence of the α-heteroatom on rotation for amides and thioamides evaluated. / Thesis (M.Sc.) - University of KwaZulu-Natal, Pietermaritzburg, 2008.

<p>Bilagor: Partitur till kammaroperan <em>Förlossningen</em> och stråkverket <em>Timaeus</em> medföljer, likaså ljudinspelning på bägge verken.</p>

<p>Since the Renaissance, the normative approach to a philosophy of music has concerned itself primarily with the subjective experience of the listener. This was not always the case. From Greek Antiquity to the Renaissance, music was considered a rigorous, mathematical discipline that shed light on objective truths concerning cosmology and cosmogony. <i>Musica theorica</i>, therefore, took precedence over musica practica and was taken much more seiously in musical scholarship. Although tension had always existed between <i>Musica theorica</i> and <i>Musica practica</i>, such tension reached its peak during the Renaissance and as a result, a shift occurred: <i>Musica theorica</i> was pushed into the background, and <i>Musica practica</i> stepped forward.</p><p>The intention of this thesis is to convince its reader of the need to bring <i>Musica theorica</i> back to its proper place in musical and philosphical scholarship, where objective answers can be found, and music's innate eternal nature is revealed. The thesis begins with a historical survey of musical scholarship that eventually brings the reader to the center of the controversy that ensued during the Renaissance, and then forward to present day discussions in philosphy of music that are concerned with music's subjective and temporal properties. It is hoped that the reader will see the need for a new shift to occur in philosophy of music that focuses on music's objective and eternal properies (that are wholly distinct from the subject experiencing it), and will come away with a new perspective regarding the interdisciplinary nature of philosphy and music.

<p>Since the Renaissance, the normative approach to a philosophy of music has concerned itself primarily with the subjective experience of the listener. This was not always the case. From Greek Antiquity to the Renaissance, music was considered a rigorous, mathematical discipline that shed light on objective truths concerning cosmology and cosmogony. <i>Musica theorica</i>, therefore, took precedence over musica practica and was taken much more seiously in musical scholarship. Although tension had always existed between <i>Musica theorica</i> and <i>Musica practica</i>, such tension reached its peak during the Renaissance and as a result, a shift occurred: <i>Musica theorica</i> was pushed into the background, and <i>Musica practica</i> stepped forward.</p><p>The intention of this thesis is to convince its reader of the need to bring <i>Musica theorica</i> back to its proper place in musical and philosphical scholarship, where objective answers can be found, and music's innate eternal nature is revealed. The thesis begins with a historical survey of musical scholarship that eventually brings the reader to the center of the controversy that ensued during the Renaissance, and then forward to present day discussions in philosphy of music that are concerned with music's subjective and temporal properties. It is hoped that the reader will see the need for a new shift to occur in philosophy of music that focuses on music's objective and eternal properies (that are wholly distinct from the subject experiencing it), and will come away with a new perspective regarding the interdisciplinary nature of philosphy and music.

Denna uppsats gör framför allt en textanalys av Rökstenen baserad på en modern historiesyn av den sena järnålderns förhållanden i Skandinavien. Med en sådan kontexuell bakgrund kan ett sameuropeiskt, senantikt idégods användas i en komparativ analys. Utgångspunkten är att Rökstenen manifisterar ett kosmologiskt budskap och att denna kosmologi är en variant av den under perioden alenarådande platonska harmoniska kosmologin. Även futharken analyseras från samma utgångspunkt.

<p>Denna uppsats gör framför allt en textanalys av Rökstenen baserad på en modern historiesyn av den sena järnålderns förhållanden i Skandinavien. Med en sådan kontexuell bakgrund kan ett sameuropeiskt, senantikt idégods användas i en komparativ analys. Utgångspunkten är att Rökstenen manifisterar ett kosmologiskt budskap och att denna kosmologi är en variant av den under perioden alenarådande platonska harmoniska kosmologin. Även futharken analyseras från samma utgångspunkt.</p>

Thesis (Ph. D.)--University of Chicago, 1941. / Lithoprinted. "Private edition, distributed by the University of Chicago libraries."

The Monade sculpture from a series called Harmonies is a 350 cm tall steel object made of welded metal plates, representing harmonic intervals applied to idealised proportions of the human figure. The impetus is a need of transcendency and meaning in perception of reality. Creative strategies are reduction, abstraction and remediation.

Durante o Renascimento ocorre uma retomada do pensamento racional em que o conhecimento clássico é revisitado e reorganizado pelo homem. Há uma contestação à razão pitagórica nos intervalos musicais. Vincenzo Galilei se opõe à maneira que Pitágoras relacionou os intervalos musicais através de razões de números naturais. Dá-se então, uma revolução sobre as idéias científicas que influenciaram a música. Vincenzo Galilei rompe com a visão pitagórica e passa a testar experimentalmente relações musicais supostamente corretas e começa a reescrever a teoria musical a partir de fundamentos experimentais. Seu filho Galileu, por sua vez, coloca a física dentro de um enfoque experimental e prático. Com este novo enfoque a concepção pitagórica da música se vê ameaçada. As relações entre a física, a matemática e a música se intensificam e o estudo da música nesta época tem um caráter particularmente interessante sob o ponto de vista interdisciplinar. Através de um enfoque histórico-epistemológico, busca-se estudar a importância da interdisciplinaridade no ensino de maneira geral, em especial da matemática, física e música, e de propor algumas oficinas interdisciplinares em que essas três disciplinas, possam de algum modo estar presentes. O aprendizado focado em mais de uma disciplina através de uma atividade interdisciplinar nem sempre é fácil e pode representar um obstáculo epistemológico, uma vez que saímos de nossa zona de conforto. Tais oficinas, portanto, têm também por objetivo instigar o aluno e convidá-lo a ter um enfoque reflexivo e crítico, assim como perceber o desafio que é enxergar e estudar fenômenos através de enfoques diferentes. Espera-se, dessa maneira, enriquecer o potencial de aprendizado através de uma complementação do ensino tradicionalmente feito através de disciplinas separadas, pela inclusão da interdisciplinaridade, quando possível. / During the Renaissance there is a resumption of the rational thought in which classical knowledge is revisited and rearranged by man. There is a contestation that challenges the Pythagorean intervals. Vincenzo Galilei opposed the way that Pythagoras listed the musical intervals by ratios of natural numbers. It was then established a revolution of scientific ideas that influenced music. Vincenzo Galilei breaks the Pythagorean view and starts to test experimentally musical relationships that were supposedly correct and begins to write a new music theory based on experimental foundations. His son Galileo, in turn, puts physics within a practical an experimental approach. Due to this new approach, the Pythagorean concept of music is threatened. The relationships between physics, mathematics and music are intensified and the study of music at this time has a particularly interesting character from an interdisciplinary point of view. Through a historical and epistemological approach, this work studies the importance of interdisciplinary education in general, especially in mathematics, physics and music, and aims at suggesting some interdisciplinary workshops such that these three disciplines can somehow be present. Learning involving more than one subject through an interdisciplinary activity is not always easy and may represent an epistemological obstacle since we go out of our comfort zone. These workshops therefore also aim at instigating the students as well as inviting them to take a reflective and critical approach, and realize how challenging is to see and study phenomena through different points of view. It is hoped in this way to enrich the learning potential through a complementation of the education process, traditionally done by separate subjects, by the inclusion of interdisciplinary activities whenever possible.