Paul Hindemith (1895-1963)--composer, teacher, and performer of early music--was one of the inaugurators of the early music revival in the United States. During his tenure at Yale University (1940-53) Hindemith directed concerts of primarily medieval and Renaissance music in 1941 (Tanglewood), 1945-47 (Yale), 1948 (Yale and the Metropolitan Museum of Art), 1950 (Harvard), 1951 and 1953 (Yale and the Metropolitan Museum of Art). He participated in a concert of 17th-century music at Yale in 1943. The success of these performances gave Hindemith national recognition. He was able to establish these concerts as the result of self-education and relentless determination. Although he was not part of the burgeoning collegium musicum movement in Germany he directed the Yale Collegium Musicum unhindered, for the most part, by the disastrous effects of World War II. Neither before nor after his tenure at Yale did early music performance form a significant part of his life.Chapter 1 focuses on relevant issues in Hindemith's background while in Germany. Using Stephen Hinton's analysis of the idea of Gebrauchsmusik, this chapter shows that although Hindemith denounced the term "Gebrauchsmusik" as a slogan, his early music performances emerged from the same Gebrauchsmusik, (music-for-amateurs) philosophy. The term "Gebrauchsmusik" appears in this a dissertation as a favorable "pre-Nazi/Weimar Republic" concept; a philosophical construct which formed the basis of Hindemith's early music performances in the United States.Chapter 2 deals with Hindemith's advocacy of early music in the United States. This chapter also includes discussions on the public reception of Hindemith's early music programs, as well as the work of contemporaries during that phase of the early music revival in the United States. The following chapter is an evaluation of Hindemith's recordings of two Yale Collegium Musicum concerts, his use of historical instruments and his performance scores. The evaluation of Hindemith's performance scores centers primarily around French dances which he performed on period instruments in 1948 and their adaptation for modern instruments in his Suite franzoesischer Taenze (1958). The final chapter is a reflection upon the issues of Gebrauchsmusik, and historicity in Hindemith's early music performances. The appendices contain programs, personnel and repertoire lists. / School of Music

This thesis is concerned with the development and use of a macroeconometric model for the Algerian economy between 1963 and 1984. The model was built because of a systematic lack of applied econometric studies pertaining to Algeria at both the macroeconomic and microeconomic level. It is hoped that the model will fill a gap in this area and will contribute to the much neglected field of applied econometric research with regard to Algeria. This lack of applied econometric studies for Algeria meant that the modelling exercise described here has had to rely on an extensive specification search based on evidence relating to Algeria's economic structure and policy, economic theory, and the experience of Less Developed Countries in the area of macroeconomic model-building. The lack of data was a major constraint in this area and part of this study consisted of collecting and compiling a large database. After the country's independence in 1962, Algerian macroeconomic policy aimed to create a strong industrial system and to satisfy the population's basic needs. It relied on heavy industrialisation to modernise the economy, oil revenues to finance development, and central planning as the major tool of macroeconomic regulation. The accumulation rate was high and the growth record was generally good. However high unemployment and inflation, considerable disequilibrium, low productivity, a vulnerable balance of payments and unsustainable external debt are the major macroeconomic problems that policy-makers have had to face. The model's equations were first estimated using the OLS method and were subjected to stringent statistical tests. The degree of test significance and parameter correspondence to a priori views on the economy was good. when the model was constructed, it was estimated using a 2SLS principal component method. The OLD results were found to be reasonably feasible. The equations were collected into a system of 63 equations and solved using dynamic simulation technique. The model was solved successfully and its tracking of historical data was reasonably good. Further tests were carried out to study its dynamic features. Having constructed the model, it was then used extensively to perform simulation analysis. The experiments ranged from those concerning the goverment's current expenditure to its monetary policy. In all, nine simulation exercises were carried out. These were revealing on the workings of the Algerian economy. The model was further used in scenario analysis. First the model was used to develop an ex ante forecast employing a linear trend model for the exogenous variables. The forecast database was used to generate multipliers. The policy analysis was constructed to coincide with the implementation of the Second Five Year Plan (1985-1989). The feasibility of the plan was examined by varying the price of oil according to three hypotheses. The aim of this test was to develop a realistic framework for applied macroeconomic analysis.

Francis Poulenc (1899-1963) demonstrates a remarkable affinity for surrealist poetry in his numerous settings of leading modernist French poets from the first half of the twentieth century. The poetry of Max Jacob (1876-1944), a once unduly marginalized writer who is now regarded as an influential initiator of surrealism, provided the inspiration for one of Poulenc's most significant works, the chamber cantata Le Bal masque (1932). / This thesis seeks to shed light on Poulenc's largely neglected artistic interaction with Jacob by exploring musical counterparts to the poet's unique surrealist aesthetic in Le Bal masque. Chapter one examines Poulenc's artistic milieu surrounding the composition and first performance of Le Bal masque, and reviews previous literature on Poulenc's involvement with avant-garde art and literature. Chapter two focuses on Jacob himself and discusses key aspects of his subversive poetic aesthetic. Chapter three outlines the fundamental characteristics of surrealist art in general and reviews previous discussions of music and surrealism. The final chapter explores surrealist influences in Le Bal masque while concentrating on musical parallels to central features of Jacob's poetry and surrealist art in general described in the preceding chapters.

No description available.

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Mit der Werkmonographie werden realisierte Projekte des Büros seit der Gründung im Jahr 1990 dokumentiert. Zugleich ist damit eine Selbstauskunft des Architekten Ulf Zimmermann über sein architektonisches Schaffen im Zeitraum 1963 -1990 verbunden. Das Buch zeigt somit Objekte, die von den unterschiedlichen materiellen, technischen und technologischen Möglichkeiten in zwei politisch divergierenden Systemen geprägt sind. Erfolgte unter den wirtschaftlichen Bedingungen der DDR eine Orientierung auf den Einsatz einfacher natürlicher Materialien, so bestimmten in den letzten zwei Jahrzehnten hochwertige Industrieprodukte die äußere und innenräumliche Gestaltung der Gebäude. Sie werden in der zeitlichen Abfolge ihrer Realisierung vorgestellt, schließen Veränderungen und Entwicklungen des gestalterischen Vokabulars, als Ergebnis der Auseinandersetzung mit der Spezifik der jeweiligen Bauaufgabe und den örtlichen Gegebenheiten, ebenso ein, wie sie Überzeugungen und Orientierungen widerspiegeln, die als inhaltliches Konzept den einzelnen Projekten zugrunde liegen.

Texte remanié de: Diss.--Geschichtswissenschaften--Frankfurt am Main, 1980-1981. / Bibliogr. p. 170-185. Index.

Thesis (M.A.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 95-98).

Zugl.: Giessen, Univ., veränd. Diss., 2007

Thesis (Ph. D.)--Uppsala University, 2002.