Walther Nernst, Albert Einstein, Otto Stern, Adriaan Fokker
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Unit 1 Old Quantum Theory
UNIT 1 OLD QUANTUM THEORY Structure Introduction Objectives li;,:overy of Sub-atomic Particles Earlier Atom Models Light as clectromagnetic Wave Failures of Classical Physics Black Body Radiation '1 Heat Capacity Variation Photoelectric Effect Atomic Spectra Planck's Quantum Theory, Black Body ~diation. and Heat Capacity Variation Einstein's Theory of Photoelectric Effect Bohr Atom Model Calculation of Radius of Orbits Energy of an Electron in an Orbit Atomic Spectra and Bohr's Theory Critical Analysis of Bohr's Theory Refinements in the Atomic Spectra The61-y Summary Terminal Questions Answers 1.1 INTRODUCTION The ideas of classical mechanics developed by Galileo, Kepler and Newton, when applied to atomic and molecular systems were found to be inadequate. Need was felt for a theory to describe, correlate and predict the behaviour of the sub-atomic particles. The quantum theory, proposed by Max Planck and applied by Einstein and Bohr to explain different aspects of behaviour of matter, is an important milestone in the formulation of the modern concept of atom. In this unit, we will study how black body radiation, heat capacity variation, photoelectric effect and atomic spectra of hydrogen can be explained on the basis of theories proposed by Max Planck, Einstein and Bohr. They based their theories on the postulate that all interactions between matter and radiation occur in terms of definite packets of energy, known as quanta. Their ideas, when extended further, led to the evolution of wave mechanics, which shows the dual nature of matter -
Arxiv:1206.1084V3 [Quant-Ph] 3 May 2019
Overview of Bohmian Mechanics Xavier Oriolsa and Jordi Mompartb∗ aDepartament d'Enginyeria Electr`onica, Universitat Aut`onomade Barcelona, 08193, Bellaterra, SPAIN bDepartament de F´ısica, Universitat Aut`onomade Barcelona, 08193 Bellaterra, SPAIN This chapter provides a fully comprehensive overview of the Bohmian formulation of quantum phenomena. It starts with a historical review of the difficulties found by Louis de Broglie, David Bohm and John Bell to convince the scientific community about the validity and utility of Bohmian mechanics. Then, a formal explanation of Bohmian mechanics for non-relativistic single-particle quantum systems is presented. The generalization to many-particle systems, where correlations play an important role, is also explained. After that, the measurement process in Bohmian mechanics is discussed. It is emphasized that Bohmian mechanics exactly reproduces the mean value and temporal and spatial correlations obtained from the standard, i.e., `orthodox', formulation. The ontological characteristics of the Bohmian theory provide a description of measurements in a natural way, without the need of introducing stochastic operators for the wavefunction collapse. Several solved problems are presented at the end of the chapter giving additional mathematical support to some particular issues. A detailed description of computational algorithms to obtain Bohmian trajectories from the numerical solution of the Schr¨odingeror the Hamilton{Jacobi equations are presented in an appendix. The motivation of this chapter is twofold. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
The Unexpected Number Theory and Algebra of Musical Tuning Systems Or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72
The Unexpected Number Theory and Algebra of Musical Tuning Systems or, Several Ways to Compute the Numbers 5,7,12,19,22,31,41,53, and 72 Matthew Hawthorn \Music is the pleasure the human soul experiences from counting without being aware that it is counting." -Gottfried Wilhelm von Leibniz (1646-1716) \All musicians are subconsciously mathematicians." -Thelonius Monk (1917-1982) 1 Physics In order to have music, we must have sound. In order to have sound, we must have something vibrating. Wherever there is something virbrating, there is the wave equation, be it in 1, 2, or more dimensions. The solutions to the wave equation for any given object (string, reed, metal bar, drumhead, vocal cords, etc.) with given boundary conditions can be expressed as a superposition of discrete partials, modes of vibration of which there are generally infinitely many, each with a characteristic frequency. The partials and their frequencies can be found as eigenvectors, resp. eigenvalues of the Laplace operator acting on the space of displacement functions on the object. Taken together, these frequen- cies comprise the spectrum of the object, and their relative intensities determine what in musical terms we call timbre. Something very nice occurs when our object is roughly one-dimensional (e.g. a string): the partial frequencies become harmonic. This is where, aptly, the better part of harmony traditionally takes place. For a spectrum to be harmonic means that it is comprised of a fundamental frequency, say f, and all whole number multiples of that frequency: f; 2f; 3f; 4f; : : : It is here also that number theory slips in the back door. -
Feynman Quantization
3 FEYNMAN QUANTIZATION An introduction to path-integral techniques Introduction. By Richard Feynman (–), who—after a distinguished undergraduate career at MIT—had come in as a graduate student to Princeton, was deeply involved in a collaborative effort with John Wheeler (his thesis advisor) to shake the foundations of field theory. Though motivated by problems fundamental to quantum field theory, as it was then conceived, their work was entirely classical,1 and it advanced ideas so radicalas to resist all then-existing quantization techniques:2 new insight into the quantization process itself appeared to be called for. So it was that (at a beer party) Feynman asked Herbert Jehle (formerly a student of Schr¨odinger in Berlin, now a visitor at Princeton) whether he had ever encountered a quantum mechanical application of the “Principle of Least Action.” Jehle directed Feynman’s attention to an obscure paper by P. A. M. Dirac3 and to a brief passage in §32 of Dirac’s Principles of Quantum Mechanics 1 John Archibald Wheeler & Richard Phillips Feynman, “Interaction with the absorber as the mechanism of radiation,” Reviews of Modern Physics 17, 157 (1945); “Classical electrodynamics in terms of direct interparticle action,” Reviews of Modern Physics 21, 425 (1949). Those were (respectively) Part III and Part II of a projected series of papers, the other parts of which were never published. 2 See page 128 in J. Gleick, Genius: The Life & Science of Richard Feynman () for a popular account of the historical circumstances. 3 “The Lagrangian in quantum mechanics,” Physicalische Zeitschrift der Sowjetunion 3, 64 (1933). The paper is reprinted in J. -
The Concept of the Photon—Revisited
The concept of the photon—revisited Ashok Muthukrishnan,1 Marlan O. Scully,1,2 and M. Suhail Zubairy1,3 1Institute for Quantum Studies and Department of Physics, Texas A&M University, College Station, TX 77843 2Departments of Chemistry and Aerospace and Mechanical Engineering, Princeton University, Princeton, NJ 08544 3Department of Electronics, Quaid-i-Azam University, Islamabad, Pakistan The photon concept is one of the most debated issues in the history of physical science. Some thirty years ago, we published an article in Physics Today entitled “The Concept of the Photon,”1 in which we described the “photon” as a classical electromagnetic field plus the fluctuations associated with the vacuum. However, subsequent developments required us to envision the photon as an intrinsically quantum mechanical entity, whose basic physics is much deeper than can be explained by the simple ‘classical wave plus vacuum fluctuations’ picture. These ideas and the extensions of our conceptual understanding are discussed in detail in our recent quantum optics book.2 In this article we revisit the photon concept based on examples from these sources and more. © 2003 Optical Society of America OCIS codes: 270.0270, 260.0260. he “photon” is a quintessentially twentieth-century con- on are vacuum fluctuations (as in our earlier article1), and as- Tcept, intimately tied to the birth of quantum mechanics pects of many-particle correlations (as in our recent book2). and quantum electrodynamics. However, the root of the idea Examples of the first are spontaneous emission, Lamb shift, may be said to be much older, as old as the historical debate and the scattering of atoms off the vacuum field at the en- on the nature of light itself – whether it is a wave or a particle trance to a micromaser. -
Theory and Experiment in the Quantum-Relativity Revolution
Theory and Experiment in the Quantum-Relativity Revolution expanded version of lecture presented at American Physical Society meeting, 2/14/10 (Abraham Pais History of Physics Prize for 2009) by Stephen G. Brush* Abstract Does new scientific knowledge come from theory (whose predictions are confirmed by experiment) or from experiment (whose results are explained by theory)? Either can happen, depending on whether theory is ahead of experiment or experiment is ahead of theory at a particular time. In the first case, new theoretical hypotheses are made and their predictions are tested by experiments. But even when the predictions are successful, we can’t be sure that some other hypothesis might not have produced the same prediction. In the second case, as in a detective story, there are already enough facts, but several theories have failed to explain them. When a new hypothesis plausibly explains all of the facts, it may be quickly accepted before any further experiments are done. In the quantum-relativity revolution there are examples of both situations. Because of the two-stage development of both relativity (“special,” then “general”) and quantum theory (“old,” then “quantum mechanics”) in the period 1905-1930, we can make a double comparison of acceptance by prediction and by explanation. A curious anti- symmetry is revealed and discussed. _____________ *Distinguished University Professor (Emeritus) of the History of Science, University of Maryland. Home address: 108 Meadowlark Terrace, Glen Mills, PA 19342. Comments welcome. 1 “Science walks forward on two feet, namely theory and experiment. ... Sometimes it is only one foot which is put forward first, sometimes the other, but continuous progress is only made by the use of both – by theorizing and then testing, or by finding new relations in the process of experimenting and then bringing the theoretical foot up and pushing it on beyond, and so on in unending alterations.” Robert A. -
Quantum Mechanics I - Iii
QUANTUM MECHANICS I - III PHYS 516 - 518 Jan 1 - Dec. 31, 2015 Prof. R. Gilmore 12-918 X-2779 [email protected] office hours: 2:00 ! \1" Course Schedule: (Winter Quarter) MWF 11:00 - 11:50, Disque 919 Objective: To provide the foundations for modern physics. Course Requirements and Obligations Course grading will be based on assigned homework problem sets and a midterm and final exam. Texts Two texts and one supplement will be used for this course. The first text has been chosen from among many admirable texts because it provides a more comprehensive treatment of quantum physics discovered since 1970 than other texts. The second text will be used primarily during the second quarter of this course (PHYS517). It provides hands-on experience for solving binding and scattering problems in one dimension and potentials involving periodic poten- tials, again in one dimension. The third text (optional) is strongly recommended for those who feel their undergratuate experience in this beautiful subject may be deficient in some way. It is out of print but a limited number of copies are often available through Amazon in the event our book store has sold out of their reprinted copies. 1 David H. McIntyre Quantum Mechanics NY: Pearson, 2012 ISBN-10: 0-321-76579-6 R. Gilmore Elementary Quantum Mechanics in One Dimension Baltimore, Johns Hopkins University Press, 2004 ISBN 0-8018-8015-7 R. H. Dicke and J. P. Wittke Introduction to Quantum Mechanics Reading, MA: Addison-Wesley, 1960 ISBN 0-? If it becomes a hardship to acquire this fine text, you can get about the same information from another, later, fine text: David J. -
Chapter 2 Quantum Theory
Chapter 2 - Quantum Theory At the end of this chapter – the class will: Have basic concepts of quantum physical phenomena and a rudimentary working knowledge of quantum physics Have some familiarity with quantum mechanics and its application to atomic theory Quantization of energy; energy levels Quantum states, quantum number Implication on band theory Chapter 2 Outline Basic concept of quantization Origin of quantum theory and key quantum phenomena Quantum mechanics Example and application to atomic theory Concept introduction The quantum car Imagine you drive a car. You turn on engine and it immediately moves at 10 m/hr. You step on the gas pedal and it does nothing. You step on it harder and suddenly, the car moves at 40 m/hr. You step on the brake. It does nothing until you flatten the brake with all your might, and it suddenly drops back to 10 m/hr. What’s going on? Continuous vs. Quantization Consider a billiard ball. It requires accuracy and precision. You have a cue stick. Assume for simplicity that there is no friction loss. How fast can you make the ball move using the cue stick? How much kinetic energy can you give to the ball? The Newtonian mechanics answer is: • any value, as much as energy as you can deliver. The ball can be made moving with 1.000 joule, or 3.1415926535 or 0.551 … joule. Supposed it is moving with 1-joule energy, you can give it an extra 0.24563166 joule by hitting it with the cue stick by that amount of energy. -
Quantum Mechanics of the Electron Particle-Clock
Quantum Mechanics of the electron particle-clock David Hestenes Department of Physics, Arizona State University, Tempe, Arizona 85287-1504∗ Understanding the electron clock and the role of complex numbers in quantum mechanics is grounded in the geometry of spacetime, and best expressed with Spacetime Algebra (STA). The efficiency of STA is demonstrated with coordinate-free applications to both relativistic and non- relativistic QM. Insight into the structure of Dirac theory is provided by a new comprehensive analysis of local observables and conservation laws. This provides the foundation for a comparative analysis of wave and particle models for the hydrogen atom, the workshop where Quantum Mechanics was designed, built and tested. PACS numbers: 10,03.65.-w Keywords: pilot waves, zitterbewegung, spacetime algebra I. INTRODUCTION The final Section argues for a realist interpretation of the Dirac wave function describing possible particle De Broglie always insisted that Quantum Mechanics is paths. a relativistic theory. Indeed, it began with de Broglie`s relativistic model for an electron clock. Ironically, when Schr¨odingerintroduced de Broglie`s idea into his wave II. SPACETIME ALGEBRA equation, he dispensed with both the clock and the rela- tivity! Spacetime Algebra (STA) plays an essential role in the This paper aims to revitalize de Broglie's idea of an formulation and analysis of electron theory in this paper. electron clock by giving it a central role in physical inter- Since thorough expositions of STA are available in many pretation of the Dirac wave function. In particular, we places [2{4], a brief description will suffice here, mainly aim for insight into structure of the wave function and to establish notations and define terms. -
Quantization Conditions, 1900–1927
Quantization Conditions, 1900–1927 Anthony Duncan and Michel Janssen March 9, 2020 1 Overview We trace the evolution of quantization conditions from Max Planck’s intro- duction of a new fundamental constant (h) in his treatment of blackbody radiation in 1900 to Werner Heisenberg’s interpretation of the commutation relations of modern quantum mechanics in terms of his uncertainty principle in 1927. In the most general sense, quantum conditions are relations between classical theory and quantum theory that enable us to construct a quantum theory from a classical theory. We can distinguish two stages in the use of such conditions. In the first stage, the idea was to take classical mechanics and modify it with an additional quantum structure. This was done by cut- ting up classical phase space. This idea first arose in the period 1900–1910 in the context of new theories for black-body radiation and specific heats that involved the statistics of large collections of simple harmonic oscillators. In this context, the structure added to classical phase space was used to select equiprobable states in phase space. With the arrival of Bohr’s model of the atom in 1913, the main focus in the development of quantum theory shifted from the statistics of large numbers of oscillators or modes of the electro- magnetic field to the detailed structure of individual atoms and molecules and the spectra they produce. In that context, the additional structure of phase space was used to select a discrete subset of classically possible motions. In the second stage, after the transition to modern quantum quan- tum mechanics in 1925–1926, quantum theory was completely divorced from its classical substratum and quantum conditions became a means of con- trolling the symbolic translation of classical relations into relations between quantum-theoretical quantities, represented by matrices or operators and no longer referring to orbits in classical phase space.1 More specifically, the development we trace in this essay can be summa- rized as follows. -
Dramatic Structures in the Theatrical Music of Harry Partch and Manfred Stahnke
MICROTONALITY, TECHNOLOGY, AND (POST)DRAMATIC STRUCTURES IN THE THEATRICAL MUSIC OF HARRY PARTCH AND MANFRED STAHNKE By NAVID BARGRIZAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Navid Bargrizan To my parents, whose passion for both music and academic education has inspired me ACKNOWLEDGMENTS I would like to express my sincere gratitude for their mentorship and constructive criticism to my advisor Dr. Silvio dos Santos, and the members of my doctoral committee, Dr. Jennifer Thomas, Dr. Paul Richards, and Dr. Ralf Remshardt. I am very much obliged to Dr. Manfred Stahnke for his generosity and wisdom; Ms. Susanne Stahnke for her cordial hospitality; Dr. Georg Hajdu for sharing his knowledge, and Dr. Albrecht Schneider for evoking my interest in microtonality. I appreciate the support of the following individuals and organizations, without whom I could not have realized this dissertation: DAAD (German Academic Exchange Service); the past and present directors of UF’s Music Department, Dr. John Duff and Dr. Kevin Orr; UF’s College of the Arts; UF’s Graduate School and Office of Research; UF’s Center for the Humanities and the Public Sphere; UF’s Student Government; Singer and Tedder Families; director of the Sousa Archives and Center for American Music at the University of Illinois, Dr. Scott Schwarz; the staff of the University of California San Diego Special Collections and Northwestern University Library. My family, friends, and early mentors have encouraged and supported me throughout my academic education.