The B'b'c Year Book 1931
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An Introduction to Quantum Field Theory
AN INTRODUCTION TO QUANTUM FIELD THEORY By Dr M Dasgupta University of Manchester Lecture presented at the School for Experimental High Energy Physics Students Somerville College, Oxford, September 2009 - 1 - - 2 - Contents 0 Prologue....................................................................................................... 5 1 Introduction ................................................................................................ 6 1.1 Lagrangian formalism in classical mechanics......................................... 6 1.2 Quantum mechanics................................................................................... 8 1.3 The Schrödinger picture........................................................................... 10 1.4 The Heisenberg picture............................................................................ 11 1.5 The quantum mechanical harmonic oscillator ..................................... 12 Problems .............................................................................................................. 13 2 Classical Field Theory............................................................................. 14 2.1 From N-point mechanics to field theory ............................................... 14 2.2 Relativistic field theory ............................................................................ 15 2.3 Action for a scalar field ............................................................................ 15 2.4 Plane wave solution to the Klein-Gordon equation ........................... -
Chapter 3 Beam Dynamics II - Longitudinal
Chapter 3 Beam Dynamics II - Longitudinal Sequences of Gaps Transit Time Factor Phase Stability Chapter 3 Longitudinal Beam Dynamics 1 The Faraday Cage Protons are confined in a conducting box, at low energy. Assume they can bounce off the walls with no energy loss. Move the switch from position A to B. The potential on the box rises from 0 to 1 MV. What is the proton energy now? Chapter 3 Longitudinal Beam Dynamics 2 The Linac Drift Tube A linear accelerator (linac) is comprised of a succession of drift tubes. These drift tubes have holes in their ends so the particles can enter and exit, and when particles are inside the drift tube, a Faraday Cage, the potential of the drift tube may vary without changing the energy of the particle. Acceleration takes place when a charged particle is subjected to a field. The field inside the Faraday cage is not affected by the potential outside. (Aside from fields generated by the protons themselves, the field inside the Faraday cage is zero.) The drift tubes are arranged in a sequence with a passage through their middle for the particles to pass. The field in the gap between the drift tubes accelerates the particles. Chapter 3 Longitudinal Beam Dynamics 3 Some Actual Linac Configurations We will look at: Sloan-Lawrence Structure (Ising, Wideroe) Alvarez Structure RFQ Structure Coupled-Cavity Structure Chapter 3 Longitudinal Beam Dynamics 4 Some Kinematics For simplicity, we will assume the particles are non-relativistic. The normalized velocity is 2T = m c2 T is the kinetic energy of the particle, mc2 is the rest mass, 938 MeV for protons. -
Handel : Conducted by Sir Thomas Beecham with Dora Labbette
Handel The Messiah - Volume I mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Messiah - Volume I Country: UK Released: 1928 Style: Baroque MP3 version RAR size: 1894 mb FLAC version RAR size: 1986 mb WMA version RAR size: 1467 mb Rating: 4.1 Votes: 965 Other Formats: MIDI AIFF MP3 AA DMF AUD MPC Tracklist A –Sir Thomas Beecham And Orchestra With Organ* Overture B –Hubert Eisdell Comfort Ye, My People C –BBC Choir* And The Glory Of The Lord D –Hubert Eisdell Every Valley Shall Be Exalted –Harold Williams, Baritone* WIth Orchestra* E1.1 Recit: Thus Saith The Lord Conducted By Sir Thomas Beecham Aria: But Who May Abide The Day Of E1.2 –Harold Williams, Baritone* His Coming Part 1 –Harold Williams, Baritone* WIth Orchestra* Aria: But Who May Abide The Day Of F Conducted By Sir Thomas Beecham His Coming Part 2 –Muriel Brunskill, Contrato*, Orchestra* Conducted By G1.1 Recit: Behold A Virgin Shall Conceive Sir Thomas Beecham G1.2 –Muriel Brunskill, Contrato* Aria: O Thou That Tellest, Part 1 –Sir Thomas Beecham And The BBC Choir* With H And He Shall Purify Orchestra And Organ* –Muriel Brunskill, Contrato*, Orchestra* Conducted By I1.1 Recit: Behold A Virgin Shall Conceive Sir Thomas Beecham I1.2 –Muriel Brunskill, Contrato* Aria: O Thou That Tellest, Part 2 –Harold Williams, Baritone* With Orchestra* Conducted J1.1 Recit: For Behold The Darkness By Sir Thomas Beecham Aria: The People That Walked In The J1.2 –Harold Williams, Baritone* Darkness, Part 1 –Harold Williams, Baritone* With Orchestra* Conducted Aria: The People -
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
Volume 10 No.2 September 2007 Edition No.38
The Speedway Researcher Promoting Research into the History of Speedway and Dirt Track Racing Volume 10 No.2 September 2007 Edition No.38 Cheetahs Crash It is always sad to see a track or team close down and the sudden demise of Oxford as an Elite League venture happened just as our previous edition went to copying. At the time of noting the end of the Cheetahs as an Elite League team our thoughts were the silver lining – comfort zone if you like – is that the stadium is not under threat of re-development and hopefully the City of Dreaming Spires would see speedway action soon. And so it came to pass that aspiring Exeter saviour Allen Trump has stepped into the gulf and saved the Conference League lads who now race under the name of Cheetahs. Allen has given the place a boost by hiring Peter Oakes to boot. Good luck lads – Lang May Yer Lum Reek (wi other folks’coal). JH Goodbye Michal and Kenny Whilst it is sad to lose a track, it is heartbreaking to lose riders. We send our deepest sympathies to the families of young Czech Republic rider Michal Matula and Swede Kenny Olsson who lost their lives on Sunday 27th May and Wednesday 6th June respectively. Michal never raced for a UK team but Kenny was a popular member of the Glasgow Tigers during his la st spell over here and the loss will be deeply felt by the Tigers’ fans and other admirers who followed his other teams in the UK. We will add their names to the Roll of Honour and hope, as ever, they will be the last names we will add to it. -
Maurizio Pollini
REVISTA DE MÚSICA Año XX - Nº 196 - Abril 2005 - 6,30 DOSIER Don Quijote y la música Nº 196 - Abril 2005 SCHERZO ENTREVISTA Miguel Sánchez ENCUENTROS Ofelia Sala ACTUALIDAD Maurizio Pollini ANIVERSARIO Karl Amadeus Hartmann 9778402 134807 9100 6 AÑO XX Nº 196 Abril 2005 6,30 € 2 OPINIÓN Don Quijote y los libros de caballerías CON NOMBRE Arturo Reverter 118 PROPIO Un singular encuentro 6 Maurizio Pollini entre Falla y Cervantes Yvan Nommick 122 Carmelo di Gennaro La discoteca del hidalgo 10 AGENDA Juan Manuel Viana 126 18 ACTUALIDAD ENCUENTROS NACIONAL Ofelia Sala “Espero no perder nunca la 44 ACTUALIDAD capacidad de ilusionarme” 132 INTERNACIONAL Rafael Banús Irusta 60 ENTREVISTA ANIVERSARIO Miguel Sánchez Karl Amadeus Hartmann “No podríamos sentir la música Francisco Ramos 138 sin el concierto” EDUCACIÓN Juan Antonio Llorente Pedro Sarmiento 140 64 Discos del mes EL CANTAR DE LOS CANTARES SCHERZO DISCOS Arturo Reverter 142 65 Sumario JAZZ Pablo Sanz 144 DOSIER 113 Don Quijote y la música LIBROS 146 114 Música para unos papeles LA GUÍA 148 y cartapacios CONTRAPUNTO Alfonso de Vicente Norman Lebrecht 152 Colaboran en este número: Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, David Armendáriz Moreno, Rafael Banús Irusta, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Carmelo Di Gennaro, Giacomo Di Vittorio, Fernando Fraga, Joaquín García, José Antonio García y García, Mario Gerteis, José Guerrero Martín, Fernando Herrero, Leopoldo Hontañón, Bernd Hoppe, Paul Korenhof, Norman Lebrecht, Juan -
The Orchestra in History
Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is difficult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the first major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra. -
'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924
Wickstead, H 2017 “Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924. Bulletin of the History of Archaeology, 27(1): 4, pp. 1–18, DOI: https://doi.org/10.5334/bha-596 RESEARCH PAPER “Wild Worship of a Lost and Buried Past”: Enchanted Archaeologies and the Cult of Kata, 1908–1924 Helen Wickstead Histories of archaeology traditionally traced the progress of the modern discipline as the triumph of secular disenchanted science over pre-modern, enchanted, world-views. In this article I complicate and qualify the themes of disenchantment and enchantment in archaeological histories, presenting an analysis of how both contributed to the development of scientific theory and method in the earliest decades of the twentieth century. I examine the interlinked biographies of a group who created a joke religion called “The Cult of Kata”. The self-described “Kataric Circle” included notable archaeologists Harold Peake, O.G.S. Crawford and Richard Lowe Thompson, alongside classicists, musicians, writers and performing artists. The cult highlights the connections between archaeology, theories of performance and the performing arts – in particular theatre, music, folk dance and song. “Wild worship” was linked to the consolidation of collectivities facilitating a wide variety of scientific and artistic projects whose objectives were all connected to dreams of a future utopia. The cult parodied archaeological ideas and methodologies, but also supported and expanded the development of field survey, mapping and the interpretation of archaeological distribution maps. The history of the Cult of Kata shows how taking account of the unorthodox and the interdisciplinary, the humorous and the recreational, is important within generously framed approaches to histories of the archaeological imagination. -
University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Alaris Capture Pro Software
r rhe Elgar Society JOURNAL < MAY 1983 Contents Page Editorial 3 Sir Adrian Boult, by Michael Pope 5 Obituaries - Walton, Howells, Day 6 News Items 8 » Three Choirs and Malvern Festivals 9 Concert Notices 10 Jack McKenzie ^ a tribute 11 Article The Archive Answers Back. Pt.I 13 Concert Diary 18 Article Edward Elgar g the.Carillon 19 Book Review 22 Record Reviews 23 News from the Branches 26 Letters 28 Subscription Details 32 ********************************************************************************************************************* ****■§,*****■»* The editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. ********************************************************************** The cover portrait is reproduced by kind permission of RADIO TIMES ELGAR SOCIETY JOURNAL ISSN 0143-1269 2 r The Elgar Society Journal 01-440 2651 104 CRESCENT ROAD. NEW BARNET. HERTS. EDITORIAL MAY 1983 . Vol. 3,.No.2 In the last few months music has lost some of its most distinguished exponents. Obituary notices will be found on other pages, but the loss of our founder-President, Sir Adrian Boult, is something we all feel keenly. His encouragement meant a great deal to us, particularly in the difficult early years. Abroad too his peissing was noted with very great regret. The New York Times carried a long obituary by Edivard Rothstein spread across three columns. A member in Toronto tells us that at the end of a concert in the new Toronto concert hall the con ductor, Andrew Davis, turned to the audience and informed them of Sir ^ Adrian's death. He then conducted the orchestra in tribute in the slow movement of Elgar's Serenade for Strings.