Theoretical analysis and experimental study of Fourier transformation of Franz-Keldysh oscillations in GaAs

Fourier transformation (FT) has been used in the theoretical line shape analysis of Franz-Keldysh oscillations (FKOs) in detail by numerical simulations. FKOs from the surface-intrinsic-n(+) GaAs structure were obtained in photoreflectance (PR) measurements with various modulation light intensities and with different strengths of bias light illumination, which were used to change the static electric field in the intrinsic layer of the sample. The FT spectra of the PR spectra, including the real part, imaginary part, and the modulus, were very consistent with the theoretical line shapes. The ratio of the square root of the reduced mass (root mu (L)/root mu (H)) and the ratio of transition strength of the electron heavy hole to the electron light hole were obtained from the PT spectra. In addition, the electric field in the intrinsic layer of the sample without and with bias illumination and the modulation field induced by photomodulation were also obtained. (C) 2000 American Institute of Physics. [S0021-8979(00)02123-X].

Fourier transformation study of the Franz-Keldysh Oscillation in SIN+ GaAs structures

Fourier transformation (FT) method has been used in the theoretical lineshape analysis of the Franz-Keldysh Oscillation (FKO) in detail by numerical simulation. The FKO of a set of GaAs SIN+ samples was obtained in photoreflectance measurements. The FT spectra of a part of the samples,including of the real part,imaginary part, and mode of the FT,are well consistent with the theoretical lineshapes. The ratio of the square root of the reduced mass of the light hole (LH) to the heavy hole (HH), root mu(1)/root mu(h), obtained in the analysis was in the range of 0.805 to 0.816 for different samples. In addition,the built-in electric field F-1, and the modulation field delta F = F-1 - F-2 induced by photo-modulation were also obtained in the analysis. However,for a few samples great difference was found in the lineshape of the real part and imaginary part of their FT spectra from the theoretical lineshape. In this case the mode of the FT spectra still can be used to obtain useful information.

Franz-Keldysh effect and dynamical Franz-Keldysh effect of cylindrical quantum wires

We investigate the interband optical absorption spectra near the band edge of a cylindrical semiconductor quantum wire in the presence of a static electric field and a terahertz electric field polarized along the axis. Optical absorption spectra are nonperturbatively calculated by solving the low-density semiconductor Bloch equations in real space and real time. The influence of the Franz-Keldysh (FK) effect and dynamical FK effect on the absorption spectrum is investigated. To highlight the physics behind the FK effect and dynamical FK effect, the spatiotemporal dynamics of the polarization wave packet are also presented. Under a reasonable static electric field, substantial and tunable absorption oscillations appear above the band gap. A terahertz field, however, will cause the Autler-Townes splitting of the main exciton peak and the emergence of multiphoton replicas. The presented results suggest that semiconductor quantum wires have potential applications in electro-optical devices.

SIN~+GaAs结构中的Franz-Keldysh振荡的傅里叶变换研究

利用傅里叶变换(FT)方法，对Franz-Keldysh振荡(FKO)的理论线性作了详细的数值模拟，并用光调制反射谱(PR)测量了一组本征层(I层)厚度不同的表面-本征层n-型重掺杂层(SIN~+)结构的GaAs样品的FKO.PR谱的FT分析表明，一部分样品的FT谱，包括其实部、虚部和模，与理论线性符合得比较好，由此求出轻空空(LH)和重空穴(HH)的约化质量平方根之比μ_1~(1/2)/(μ_h)~(1/2)对不同样品在0.805-0.816之间，同时也可以求出样品中的内建电场强度F_1，和调制光引起的调制电场δF=F_1-F_2。有一些样品的FT谱实部和虚部与理论线性差别很大，用FT的模仍可以给出有用的信息。

用Franz-Keldysh效应研究GaAs表面硫化学钝化

硫钝化是一种比较有效的钝化GaAs表面的方法。使用Na_2S、S_2Cl_2和CH_3CSNH_2三种化学试剂对表面-本征层-重掺杂层(s-i-n~+)结构的GaAs样品进行了钝化，利用光调制反射谱观察到许多个Franz-Keldysh振荡，测量出本征层的电场强度，研究了GaAs表面硫钝化前后费米能级的变化，并且比较了各种钝化方法的钝化效果。

InGaAs-GaAs短周期应变层超晶格调制反射光谱中的Franz-Keldysh振荡

在p-i-n结构的 InGaAs-GaAs应变层短周期超晶格的调制光反射谱中观察并确认了超晶格微带电子的Franz-Keldysh振荡, 通过对Franz-Keldysh振荡的分析,推算出超晶格区内建电场大小;讨论了内建电场对超晶格微带电子的影响,最后指出Franz-Keldysh振荡可以作为检验短周期超晶格样品质量的一种手段。

Warianty realizacji austriackości w wybranych autorów (Joseph Roth, Stefan Zweig, Franz Theodor Csokor i Ődön von Horváth) w odniesieniu do kategorii granicznych starego i nowego świata

Wydział Neofilologii:Instytut Filologii Germańskiej

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD

At the end of the sixteenth century, Germany had become one of the most active centers of early Baroque music, and therefore Austro-German music came to dominate Western music. An investigation of violin works written during this period reveals the ways in which Austro-German compositions are extraordinary contributions to the violin repertoire. This research warranted further study and performance of these works in order to determine what influence these composers had on the violin repertoire as a whole. For my dissertation recital project, I trace the history of works for violin focusing the violin concerto repertoire in particular. A genre which remained popular throughout the century, the nineteenth-century concerto served primarily as a vehicle for virtuosic display of the violin and piano as never before. For my research I studied and performed works selected from the Baroque through the Romantic period in three recorded recitals with collaborative pianists Ilya Sinaisky, Sun-ha Yun, and Seyon Lee at the Gildenhorn Recital Hall, Clarice Smith Performing Arts Center. I selected particularly prominent pieces which represent the work of significant composers from each period. The composers discussed include Johann Sebastian Bach (1685-1750), owing to the fact that his works are the culmination of the Baroque era during the first half of the eighteenth century; from the Classical period, Wolfgang Amadeus Mozart (1756-1791) all of whom emerged mixing German and Italian traditions into his own style, and Ludwig van Beethoven (1770-1827), the bridge composer between the Classical and the Romantic periods; Romantic composers, Franz Schubert (1979-1828), Johannes Brahms (1833-1897), Robert Schumann (1810-1856), Felix Mendelssohn (1809-1847), and Max Bruch (1838-1920), all who tended to mix Classic and Romantic elements. As a violinist, I learned that their own original sound, rich harmonies and unique expression made these works worthy of becoming masterpieces. I have relished the opportunity for musical and professional growth in exploring these substantial compositions.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.