Notations and conventions in molecular spectroscopy: part 1. General spectroscopic notation

The field of Molecular Spectroscopy was surveyed in order to determine a set of conventions and symbols which are in common use in the spectroscopic literature. This document, which is Part I in a series, establishes the notations and conventions used for general spectroscopic notations and deals with quantum mechanics, quantum numbers (vibrational states, angular momentum and energy levels), spectroscopic transitions, and miscellaneous notations (e.g. spectroscopic terms). Further parts will follow, dealing inter alia with symmetry notation, permutation and permutation-inversion symmetry notation, vibration-rotation spectroscopy and electronic spectroscopy.

Notations and conventions in molecular spectroscopy: part 2. Symmetry notation

The field of Molecular Spectroscopy was surveyed in order to determine a set of conventions and symbols which are in common use in the spectroscopic literature. This document, which is Part 2 in a series, establishes the notations and conventions used for the description of symmetry in rigid molecules, using the Schoenflies notation. It deals firstly with the symmetry operators of the molecular point groups (also drawing attention to the difference between symmetry operators and elements). The conventions and notations of the molecular point groups are then established, followed by those of the representations of these groups as used in molecular spectroscopy. Further parts will follow, dealing inter alia with permutation and permutation-inversion symmetry notation, vibration-rotation spectroscopy and electronic spectroscopy.

Notations and conventions in molecular spectroscopy: part 3. Permutation and permutation-inversion symmetry notation

The field of Molecular Spectroscopy was surveyed in order to determine a set of conventions and symbols which are in common use in the spectroscopic literature. This document, which is Part 3 in a series, deals with symmetry notation referring to groups that involve nuclear permutations and the inversion operation. Further parts will follow, dealing inter alia with vibration-rotation spectroscopy and electronic spectroscopy.

Mathematical notation: help or hindrance?

In this article Geoff Tennant puts forward a range of reasons for using mathematical notation, emphasising the need to allow children learning it time and space to come to terms with it. Examples are given in furthering the argument that the time to introduce notation is after the concept is already fully understood.

Desempenho de bovinos Nelore e cruzados Blonde d'Aquitaine x Nelore do nascimento ao desmame

Objetivou-se avaliar o desempenho produtivo de bovinos Nelore e suas cruzas com Blonde d'Aquitaine (½ Nelore + ½ Blonde d'Aquitaine) do nascimento ao desmame, mantidos em sistema de pastejo, no Estado de Alagoas. Foram analisadas 1.279 medidas de peso ao nascimento (PN) e peso à desmama ajustado para 210 dias (P210) referentes ao período entre os anos de 2005 e 2010. Utilizou-se o delineamento inteiramente casualizado, adotando-se um nível de significância de 5%. Os pesos médios para PN e P210 foram respectivamente 31,60kg e 158,66kg, para os animais Nelore, e 33,05kg e 167,03kg, para os animais cruzados. Não houve interação (P<0,05) entre grupo genético e sexo do animal, para nenhuma variável analisada. Foram observados efeitos significativos do grupo genético, sexo e época de nascimento (P<0,05) sobre PN. O grupo genético e o sexo foram significativos sobre o P210. O efeito de época de nascimento foi significativo no peso ao nascimento, mas não houve efeito no P210, provavelmente devido à variação climática verificada na região. Animais machos apresentaram pesos superiores (P<0,05) evidenciando o dimorfismo sexual. Os animais cruzados são superiores aos da raça Nelore em todas as características consideradas, proporcionando, inclusive, bezerros mais pesados ao nascimento, sem, no entanto, apresentar partos distócicos. Os animais cruzados também são adequados em relação à grande adaptação às condições climáticas e de manejo às quais foram submetidos, constituindo-se uma excelente opção para cruzamentos na região Nordeste, em condições ambientais semelhantes às deste estudo.

1/25 translocations in Blonde d'Aquitaine cattle in New Zealand

A Robertsonian centric fusion between chromosomes 1 and 25 in Blonde d'Aquitaine cattle in New Zealand is reported. This fused chromosome is the same as the widely reported 1/29 translocation chromosome with the difference in the numbering arising from inconsistencies in the G- and R-banded cattle karyotypes of the International System for Cytogenetic Nomenclature of Domestic Animals, 1989.

Vectorial capacity, basic reproduction number, force of infection and all that: formal notation to complete and adjust their classical concepts and equations

A dimensional analysis of the classical equations related to the dynamics of vector-borne infections is presented. It is provided a formal notation to complete the expressions for the Ross' threshold theorem, the Macdonald's basic reproduction "rate" and sporozoite "rate", Garret-Jones' vectorial capacity and Dietz-Molineaux-Thomas' force of infection. The analysis was intended to provide a formal notation that complete the classical equations proposed by these authors.

Musica come Scienza dell'uomo. I caratteri del sapere musicale nel Settecento britannico

The departure point of the present work is the idea that in order to understand what music meant to British society in the Eighteenth-Century an interdisciplinary approach is necessary. Natural philosophy, moral philosophy, musical treatises and histories of music: all these sources concur both to the creation of a new idea about what music and its ‘science’ are, and to question the place which music ought to have in the realm of the Science of Man. The dissertation is divided into two sections. In the first one we will take into account philosophical sources (from John Locke, Joseph Addison and Lord Shaftesbury, to Lord Kames and Adam Smith), and we will examine their thoughts on music. In the second one we will deal with musical sources (from the Treatise of Musick of Alexander Malcom, to the Histories of Music of Charles Burney and John Hawkins) in order to show their connection with the philosophical literature before mentioned. The main aim of the work it to show that the development of specific philosophies of the human mind, such as the ones of John Locke and David Hume, did influence the way in which music was thought. Particularly we will point out the case of Adam Smith’s interpretation of instrumental music, which is heavily indebted to the humeian model of the human mind.

La psicologia della Gestalt. Ricerche teoriche e sperimentali sulla percezione sonora e musicale (1890-1939)

The aim of the present work is a historical survey on Gestalt trends in psychological research between late 19th and the first half of 20th century with privileged reference to sound and musical perception by means of a reconsideration of experimental and theoretical literature. Ernst Mach and Christian von Ehrenfels gave rise to the debate about Gestaltqualität which notably grew thanks to the ‘Graz School’ (Alexius Meinong, Stephan Witasek, Anton Faist, Vittorio Benussi), where the object theory and the production theory of perception were worked out. Stumpf’s research on Tonpsychologie and Franz Brentano’s tradition of ‘act psychology’ were directly involved in this debate, opposing to Wilhelm Wundt’s conception of the discipline; this clearly came to light in Stumpf’s controversy with Carl Lorenz and Wundt on Tondistanzen. Stumpf’s concept of Verschmelzung and his views about consonance and concordance led him to some disputes with Theodor Lipps and Felix Krueger, lasting more than two decades. Carl Stumpf was responsible for education of a new generation of scholars during his teaching at the Berlin University: his pupils Wolfgang Köhler, Kurt Koffka and Max Wertheimer established the so-called ‘Berlin School’ and promoted the official Gestalt theory since the 1910s. After 1922 until 1938 they gave life and led together with other distinguished scientists the «Psychologische Forschung», a scientific journal in which ‘Gestalt laws’ and many other acoustical studies on different themes (such as sound localization, successive comparison, phonetic phenomena) were exposed. During the 1920s Erich Moritz von Hornbostel gave important contributions towards the definition of an organic Tonsystem in which sound phenomena could find adequate arrangement. Last section of the work contains descriptions of Albert Wellek’s studies, Kurt Huber’s vowel researches and aspects of melody perception, apparent movement and phi-phenomenon in acoustical field. The work contains also some considerations on the relationships among tone psychology, musical psychology, Gestalt psychology, musical aesthetics and musical theory. Finally, the way Gestalt psychology changed earlier interpretations is exemplified by the decisive renewal of perception theory, the abandon of Konstanzannahme, some repercussions on theory of meaning as organization and on feelings in musical experience.

Studi sull'immaginario musicale in Euripide

La dissertazione è suddivisa in due capitoli più tre appendici. Nel I capitolo, Musica e dolore, si indagano i casi di metamusicalità in riferimento al dolore, che si intensificano in Euripide: si nota lo sviluppo di una riflessione sul ruolo della mousike rispetto al dolore, espressa attraverso un lessico medico e musicale. Si dimostra che in Euripide si pone il problema di quale scopo abbia la musica, se sia utile, e in quale forma lo sia. Nella prima produzione si teorizza una mousa del lamento come dolce o terapeutica per chi soffre. Molti personaggi, però, mostrano sfiducia nel potere curativo del lamento. Nell’ultima produzione si intensificano gli interrogativi sulla performance del canto, che si connotano come casi metamusicali e metateatrali. Nell’Elena, nell’Ipsipile e nelle Baccanti, E. sembra proporre una terapia ‘omeopatica’ del dolore attraverso la musica orgiastico-dionisiaca. Nel II capitolo, Natura e musica, si sceglie l’Ifigenia Taurica come esempio di mimetismo orchestico-musicale fondato – oltre che su casi di autoreferenzialità – su un immaginario naturale che, ‘facendo musica’, contribuisce all’espressività della choreia e della musica in scena. Si ipotizza inoltre un accompagnamento musicale mimetico rispetto ai suoni della natura e movimenti di danza lineari accanto a formazioni circolari, che sembrano richiamare la ‘doppia natura’ del ditirambo. L’Appendice I, Gli aggettivi poetici ξουθός e ξουθόπτερος: il loro significato e la loro potenzialità allusiva, affronta un caso particolare e problematico di ‘mimetismo lessicale’, innescato dal termine ξουθός e dal composto euripideo ξουθόπτερος. Si dimostra che l’aggettivo indica originariamente un movimento vibratorio, ma sviluppa anche un senso sonoro, ed è quindi un termine evocativo rispetto alla performance. Nell’Appendice II, Il lessico musicale in Euripide, è raccolto il lessico euripideo coreutico-musicale. Nell’Appendice III, La mousike nei drammi euripidei, sono raccolti i riferimenti alla mousike in ogni dramma.