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劉卓輝. / "2009年9月". / "2009 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 121-125). / Abstracts in Chinese and English. / Liu Zhuohui. / 論文摘要 --- p.頁ii / Chapter 第一章 --- 導言 --- p.頁5 / 背景 --- p.5 / 文獻回顧 --- p.12 / 論文主旨 --- p.17 / Chapter 第二章 --- 蒂利希拯救論的框架：上帝與世界的關係 --- p.頁19 / 引言 --- p.19 / 「文化神學」、及宗教與文化的關係 --- p.20 / 上帝與世界的關係、及恩典的內蘊性 --- p.25 / 「新教原則」與「大公實質」的互補及相互重要性 --- p.32 / 小結 --- p.46 / Chapter 第三章 --- 蒂利希論稱義 --- p.頁47 / 引言 --- p.47 / 「因恩典藉信稱義」 --- p.47 / 蒂利希對「信」和「恩典」的理解 --- p.55 / 蒂利希對稱義的理解和信義宗傳統的關係 --- p.61 / 小結 --- p.69 / Chapter 第四章 --- 蒂利希論拯救的多重向度 --- p.頁70 / 引言 --- p.70 / 多重向度的拯救 --- p.70 / 稱義與拯救的關係 --- p.78 / 對信義宗和天主教拯救觀的雙重批判 --- p.86 / 小結 --- p.92 / Chapter 第五章 --- 對信義宗-天主教有關稱義/成義的對話的意義 --- p.頁93 / 引言 --- p.93 / 「恩典」的觀念 --- p.93 / 如何理解稱義/成義？ --- p.100 / 稱義/成義在教義中的地位 --- p.106 / 對蒂利希的一些批判性評價 --- p.113 / 小結 --- p.117 / Chapter 第六草 --- 結論 --- p.頁118 / 參考書目 --- p.頁120

In 1970, the Hungarian publishing firm Editio Musica Budapest began a long term project, ending in 2005, that endeavored to compile and publish all Liszt's works in a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm, Liszt's Technical Studies were published in the way that he had originally intended for the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the nature of its trajectory is generally unknown. Through an examination of the didactic instruction Liszt supplied in the Preface of the autograph manuscript to the Technical Studies and specific technical commentaries written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical Studies are built on six artistic and mechanical principles, exemplified by Liszt in the exercises, written to help the pianist acquire technical virtuosity. The methodical divisions of the work into sections that deal with specific mechanical objectives are illustrated with musical examples and their technical trajectory defined.

Thesis (Th. M.)--Calvin Theological Seminary, 1987. / Abstract. Includes bibliographical references (leaves 194-197).

Texte remanié de : Thèse doctorat : Lettres : Paris 4 : 2001. / Bibliogr. p. 417-438.

Diss. : New Brunswick NJ : 1995. / Bibliogr.: p. 161-167.

The relationship between Franz Liszt and Ludwig van Beethoven has always held a special position in the biographical tradition of Liszt. Liszt claimed that he received a consecration kiss (the Weihekuss) from Beethoven when he was eleven. However, the story probably was fabricated: in other words, the personal relationship between Liszt and Beethoven was never realized and never existed. Even though Beethoven and Liszt probably have never met, the Weihekuss still served as, in Liszt's words, "the palladium of my whole career as an artist." Liszt constructed a rather complicated relationship with Beethoven around this myth. In this study, I shall examine how the Weihekuss influenced both Liszt's life and his professional development as a performer and editor. In chapter one, I will analyze Liszt's psychological state through the anecdote and further examine the impact that Beethoven had inserted on both Liszt's life and career. On becoming a concert pianist, Liszt was the first person who performed Beethoven's piano sonatas in public and eventually elevated the genre of the sonata into the concert repertory. In chapter two, through eyewitness testimonies, Liszt will be viewed in a broader cultural and historical perspective. Meanwhile, Liszt's relationship with his audiences and his marketing strategies will also be included in this discussion. Liszt's "authority" on Beethoven led him to complete an edition of Beethoven's thirty-two piano sonatas in 1857. By examining Liszt's edition, particularly those sonatas that he performed, one can get a sense of how Liszt himself may have interpreted the music. According to Liszt himself, he performed ten Beethoven piano sonatas in public. These ten sonatas will be the primary focus in chapter three. Liszt both added and omitted articulation and pedal markings, creating different emphases and lines from those present in Beethoven's original manuscripts. The edition, in a sense, is Liszt's final tribute to Beethoven, but also reveals his constant disappointment in never having met the composer. To edit the sonatas was, for Liszt, a way to communicate with Beethoven spiritually, if not personally.

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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs. / Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types. / Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.

Karl Barth (1886-1968) was an ardent defender of the filioque, the doctrine which states that the Holy Spirit proceeds from the Father and the Son. Generally, scholarly analysis is restricted to Barth's defence of the filioque in the first half volume of the Church Dogmatics. However, this thesis proceeds on the assumption that a fuller understanding of the filioque in Barth must take into account the genesis and development of the doctrine in his earlier thought. A latent dialectical christocentric pneumatology in the second edition of Romans (1921) provides the material theological support for the doctrine, which subsequently appears in a formal discussion of the filioque in the Gottingen Dogmatics (1924). There Barth speaks of the filioque as a theological analogy of the structure of his developing doctrine of the threefold Word of God. As preaching proceeds from revelation and Scripture, so too the Spirit is to be understood as proceeding from the Father and the Son. / Barth continues to defend and apply the filioque in the Church Dogmatics, though the original connection to the threefold form of the Word of God recedes into the background. Instead, the filioque functions systematically both as a theological guarantee of the unity of the work of the Son and the Spirit and as the eternal ground of fellowship between God and humanity. Barth's most mature view of the filioque is construed in dialectical terms whereby the Spirit is understood to be eternally active in uniting and differentiating the Father and the Son. Furthermore, Barth is atypical in the Western filioquist tradition because he refuses to speak of the filioque in terms of a "double procession"; rather, he views the Spirit as proceeding from the common being-of-the-Father-and-the-Son. Barth's stance on the filioque does not result in a form of pneumatological subordinationism, as critics often maintain. Rather, his adoption of the filioque reflects a tendency toward a superordination of the Spirit over Father and Son in a structurally similar way to Hegel's pneumatology. The thesis concludes by pointing to a tension in Barth's thought which in practice tends toward a conflation of economic and immanent Trinity as he reads back into God the problem and confrontation he perceives to exist between God and humanity.