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This thesis attempts to explain Everettian quantum mechanics from the ground up, such that those with little to no experience in quantum physics can understand it. First, we introduce the history of quantum theory, and some concepts that make up the framework of quantum physics. Through these concepts, we reveal why interpretations are necessary to map the quantum world onto our classical world. We then introduce the Copenhagen interpretation, and how many-worlds differs from it. From there, we dive into the concepts of entanglement and decoherence, explaining how worlds branch in an Everettian universe, and how an Everettian universe can appear as our classical observed world. From there, we attempt to answer common questions about many-worlds and discuss whether there are philosophical ramifications to believing such a theory. Finally, we look at whether the many-worlds interpretation can be proven, and why one might choose to believe it.
The purpose of this paper is to provide an analysis of entanglement and the particular problems it poses for some physicists. In addition to looking at the history of entanglement and non-locality, this paper will use the Bell Test as a means for demonstrating how entanglement works, which measures the behavior of electrons whose combined internal angular momentum is zero. This paper will go over Dr. Bell's famous inequality, which shows why the process of entanglement cannot be explained by traditional means of local processes. Entanglement will be viewed initially through the Copenhagen Interpretation, but this paper will also look at two particular models of quantum mechanics, de-Broglie Bohm theory and Everett's Many-Worlds Interpretation, and observe how they explain the behavior of spin and entangled particles compared to the Copenhagen Interpretation.
I wrote a literary analysis on the early history of quantum mechanics and the discovery of quantum tunneling. Quantum tunneling has led to the discovery of explanations of ideas like alpha decay radioactivity and the invention of the scanning tunneling microscope (STM). In this paper, I discussed these two topics, with a focus on the STM.
The FS in music was used in a variety of ways throughout the 20th century, primarily focusing on durations and overall structure in its use. Examples of this are found in Béla Bartók’s Music for Strings, Percussion, and Celeste (1936), Allegro barbaro (1911), Karlheinz Stockhausen’s Klavierstück IX (1955), and Luigi Nono’s il canto sospeso (1955). These works are analyzed in detail within my research, and I found every example to have a natural feel to them even if its use of the FS is carefully planned out by the composer. Bartók’s works are the least precise of my examples but perhaps the most natural ones. This imprecision in composition may be considered a more natural use of the FS in music, since nature is not always perfect either. However, in works such as Stockhausen’s, the structure is meticulously formatted in such that the precision is masked by a cycle as to appear more natural.
The conclusion of my research was a commissioned work for my instrument, the viola. I provided my research to composer Jacob Miller Smith, a DMA Music Composition student at ASU, and together we built the framework for the piece he wrote for me. We utilized the life cycle of the Black-Eyed Susan, a flower that uses the FS in its number of petals. The life cycle of a flower is in seven parts, so the piece was written to have seven separate sections in a palindrome within an overall ABA’ format. To utilize the FS, Smith used Fibonacci number durations for rests between notes, note/gesture groupings, and a mapping of 12358 as the set (01247). I worked with Smith during the process to make sure that the piece was technically suitable for my capabilities and the instrument, and I premiered the work in my defense.
The Fibonacci Series and Golden Mean in music provides a natural feel to the music it is present in, even if it is carefully planned out by the composer. More work is still to be done to develop the FS’s use in music, but the examples presented in this project lay down a framework for it to take a natural place in music composition.
In thesis we will build up our operator theory for finite and infinite dimensional systems. We then prove that Heisenberg and Schrodinger representations are equivalent for systems with finite degrees of freedom. We will then make a case to switch to a C*-algebra formulation of quantum mechanics as we will prove that the Schrodinger and Heisenberg pictures become inadequate to full describe systems with infinitely many degrees of freedom because of inequivalent representations. This becomes important as we shift from single particle systems to quantum field theory, statistical mechanics, and many other areas of study. The goal of this thesis is to introduce these mathematical topics rigorously and prove that they are necessary for further study in particle physics.
This is a primer on the mathematic foundation of quantum mechanics. It seeks to introduce the topic in such a way that it is useful to both mathematicians and physicists by providing an extended example of abstract math concepts to work through and by going more in-depth in the math formalism than would normally be covered in a quantum mechanics class. The thesis begins by investigating functional analysis topics such as the Hilbert space and operators acting on them. Then it goes on to the postulates of quantum mechanics which extends the math formalism covered before to physics and works as the foundation for the rest of quantum mechanics.