Synthesis of a novel and stable g-C3N4–Ag3PO4 hybrid nanocomposite photocatalyst and study of the photocatalytic activity under visible light irradiation

A facile and reproducible template free in situ precipitation method has been developed for the synthesis of Ag3PO4 nanoparticles on the surface of a g-C3N4 photocatalyst at room temperature. The g-C3N4–Ag3PO4 organic–inorganic hybrid nanocomposite photocatalysts were characterized by various techniques. TEM results show the in situ growth of finely distributed Ag3PO4 nanoparticles on the surface of the g-C3N4 sheet. The optimum photocatalytic activity of g-C3N4–Ag3PO4 at 25 wt% of g-C3N4 under visible light is almost 5 and 3.5 times higher than pure g-C3N4 and Ag3PO4 respectively. More attractively, the stability of Ag3PO4 was improved due to the in situ deposition of Ag3PO4 nanoparticles on the surface of the g-C3N4 sheet. The improved performance of the g-C3N4–Ag3PO4 hybrid nanocomposite photocatalysts under visible light irradiation was induced by a synergistic effect, including high charge separation efficiency of the photoinduced electron–hole pair, the smaller particle size, relatively high surface area and the energy band structure. Interestingly, the heterostructured g-C3N4–Ag3PO4 nanocomposite significantly reduces the use of the noble metal silver, thereby effectively reducing the cost of the Ag3PO4 based photocatalyst.

Synthesis of M2AC (M = Ti, V, Cr, Nb, Zr, A = Al, Sn, S) (MAX) carbide phases and study of their physical behavior under extreme conditions

Materials known as Mn+1AXn phases, where n is 1, 2, or 3, and M represents an early transition metal, A an A-group element, and X is either Carbon and/or Nitrogen [1], are fast becoming technologically important materials due to the interesting combination of unique properties. However, a lot of important information about the high temperature and high pressure behavior of many of these compounds is still missing, which needs to be determined systematically. ^ In this dissertation the synthesis of M2AC (M = Ti, V, Cr, Nb, Zr) and A = (Al, Sn, S) compounds by arc melting, vacuum sintering and piston cylinder synthesis is presented along with the synthesis of Zr 2SC, which has been synthesized for first time in bulk form, by piston cylinder technique. The microstructural analysis by electron microscopy and phase analysis by x-ray diffraction is presented next. Finally, a critical analysis of the behavior of these compounds under the application of extreme pressure (as high as 50 GPa) and temperature (≈ 1000°C) is presented. ^ The high pressure studies, up to 50 GPa, showed that these compounds were structurally intact and their bulk moduli ranged from 140 to 190 GPa. The high temperature studies in the inert atmosphere showed that the M 2SnC compounds were unstable above 650°C and the expansion along the a-axis was higher than that along the c-axis, unlike the other phases. M2SC compounds on the other hand showed negligible difference in the thermal expansion along the two axes. The oxidation study revealed that Ti2AC (Al, S) compounds had highest resistance to oxidation while the M2SnC compounds had the least. Furthermore, from the oxidation study of these compounds, which were short time oxidation experiments, it was found that all of these compounds oxidized to their respective binary oxides. ^

Synthesis, characterization and study of physical properties of novel M(n+1)AX(n) compounds

Mn+1AXn compounds, the ternary layered nanolaminates have gathered momentum in the last decade since its advent because of their unusual but exciting properties. These technologically important compounds combine some of the best properties of metals and ceramics. Like ceramics they are refractory, oxidation resistant, elastically stiff and relatively light. They also exhibit metallic properties like excellent machinability, thermal and electrical conductivity. This dissertation concentrates on the synthesis of germanium-based 211 Mn+1AXn compounds. The main objective of the research was to synthesize predominantly single phase samples of Cr2GeC, V2GeC and Ti2GeC. Another goal was to study the effect of solid substitutions on the M-site of Mn+1AXn compounds with Ge as an A-element. This study is in itself the first to demonstrate the synthesis of (Cr0.5V0.5)2GeC a novel Mn+1AXn compound. Scanning electron microscopy coupled with energy dispersive spectroscopy, x-ray diffraction and electron probe microanalysis were employed to confirm the presence of predominantly single phase samples of M2GeC compounds where M = Ti, V, Cr and (Cr 0.5V0.5). A large part of the dissertation also focuses on the effect of the compressibility on the Ge-based 211 Mn+1AXn compounds with the aid of diamond anvil cell and high energy synchrotron radiation. This study also concentrates on the stability of these compounds at high temperature and thereby determines its suitability as high temperature structural materials. In order to better understand the effect of substitutions on A-site of 211 Mn+1 AXn compounds under high pressure and high temperature, a comparison is made with previously reported 211 Mn+1AXn compounds with Al, Ga and S as A-site elements.

FIU Medical Library Stacks and Study Table

http://digitalcommons.fiu.edu/com_images/1091/thumbnail.jpg

Popular singing and style.

Popular Singing serves as a practical guide to exploring the singing voice while helping to enhance vocal confidence in a range of popular styles. The book provides effective alternatives to traditional voice training methods, and demonstrates how these methods can be used to create a flexible and unique sound.

The flute in musical life in eighteenth-century Scotland

All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.

Are we all castrati? Venanzio Rauzzini: ‘The father of a new style in English singing’

Though the castrato has been absent from the operatic stage since the nineteenth century, this voice is often described as the mysterious link in understanding the vocal techniques attributed to bel canto. The mystery lies in the fact that the voice of the operatic castrato cannot be heard by modern ears; and yet its legacy can be seen in the vocal tuition of several successful opera singers at the turn of the nineteenth century. What is unusual about this period is that some of the most successful singers of the day, including Nancy Storace, John Braham and Elizabeth Billington were British and shared the same vocal teacher. The castrato Venanzio Rauzzini (1746-1810) began his career as a primo uomo on the continent and while he established himself in various areas of musical activity, his main contribution and legacy was as a vocal teacher. During his residency in Britain from 1774 until his death, he trained several leading British professional singers who were the stars of opera in London and on the continent. They each demonstrated a use of techniques associated with the castrato vocal aesthetic and popularised a new vocal style, which can be traced to Rauzzini. Through this thesis, I will draw attention to the importance of Rauzzini’s impact on vocal teaching practice in Britain and his wider influence on the development of vocal style. I will demonstrate that Rauzzini should be considered part of the vocal teaching canon to which Pier Francesco Tosi (c.1653-1732), Nicola Porpora (1686-1768) and Manual García II (1805-1906), three other foreign vocal teachers, who were resident in Britain, already belong. By examining exactly what the expected vocal aesthetics were for all singers, castrato, non-castrated male and female during the period in which Rauzzini was active, I will demystify the castrato technique and provide a more tangible understanding of what this encompassed, demonstrating that many of these techniques were learned, performed and popularised by other voice types such as the female soprano and the male tenor.

Hoyle's games : illustrated edition. Embracing all the most modern modes of play, and the rules practised at the present time, in billiards, whist, draughts, cribbage, backgammon, and all other fashionable games; together with sixteen games adapted to the new Yankee-notion cards. Also the whole of Frer̀e's chess hand-book. Containing, besides elementary instruction and the laws of chess, about fifty select games by the first players, endings of games, and the defeat of the muzio gambit. Also, thirty-six of the choicest chess problems, and a description of, and rules for, four-handed chess /

Classified for chess; Frère's chess hand-book, p. 229-324.

Intersections: Music, Words, and Pictures Robin McCabe, host December 4, 2016

Concert Program

UW Symphony David Alexander Rahbee Music Director and Conductor with Jonathan Biss, piano December 9, 2016

Concert Program

Los Métodos para el estudio del violonchelo en la etapa inicial: análisis comparativo

En la actualidad se siguen utilizando en los centros de enseñanza musical (Escuelas de Música y Conservatorios) métodos de aprendizaje de iniciación de violonchelo que fueron escritos en el siglo XIX y principios del XX. La principal motivación de este estudio es conocer de qué forma y en qué aspectos puede repercutir el uso de determinados métodos en el proceso de enseñanza-aprendizaje del violonchelo. Se plantea un análisis comparativo de cuatro métodos de iniciación utilizados en la actualidad y escritos en diferentes épocas

Deleuze and music : a creative approach to the study of music

The work of Gilles Deleuze has influenced an increasing number of music scholars and practicing musicians, particularly those interested in experimental, electronic and popular music. This is despite the notoriously complex nature of his writings, and the specialised theoretical vocabulary that he employs. This thesis both demystifies some of the key terms and concepts of this vocabulary, before demonstrating how Deleuze’s ideas may be put to work in new and fruitful ways; this is achieved with specific reference to the relationships that music has with thought, time and machines. In Chapter 1, Deleuze’s understanding of the power of thought is examined, in particular his approach to communication, transcendence and immanence, and the “powers of thought.” Each of these concepts helps us to understand Deleuze’s work within broad problem of how to think about music immanently: that is, how to maintain that thought and music are both immanent aspects of life and experience. Chapter 2 examines time within a Deleuzian framework, linking his work on cinema with the concept of the “refrain”; both of these areas prove crucial to his understanding of music, as seen in Deleuze’s approach to the work of Varese, Messiaen, and Boulez. In addition, Deleuze’s understanding of time proves fruitful in examining various aspects of music production, as seen in contemporary electronic dance music. Finally, Chapter 3 looks at the concept of the machine, as developed by Deleuze and Guattari, with reference to the sorts of “machinic” connections that a Deleuzian approach encourages us to seek out in music. Once again, examples from contemporary electronic music are presented, in relation to the notions of becoming and subjectivity. Throughout these chapters, Deleuze’s broad understanding of philosophy as the “creation of concepts” is deployed. This means introducing new ideas and specific types of music that encourage creative and novel engagements with the study of music.