Universiẗat, Diss., 1997 u.d.T.: Dietzfelbinger, Daniel: Stiltheorie und soziale Marktwirtschaft--München.

Zugl.: Frankfurt(Oder), Universiẗat Viadrina, Diss., 2005.

Zugl.: Berlin, Humboldt-Univ., Diss.

No description available.

Close association with, and proximity to, a culture of commercialism means film trailers are often overlooked in academic analyses of cinema. Trailers are, for many audiences, simply adverts: disposable, consumable and not 'worthy' of the critical attention paid to the their feature-length antecedents. Yet trailers' undeniable impact on spectators generates a spectrum of reactions which contradicts the often dismissive and negative reception with which they are met. Trailers receive intense popular and critical scrutiny and are constantly compared to the films they represent. Despite negative associations with commercialism and advertising culture, trailers are archived, exhibited and produced and discussed in contexts very similar to film and seem to share more than just a receptive connection. This thesis explores the artistic qualities of the trailer and examines its position as part of a wider cinematic culture. I will demonstrate the trailer's artistic status by arguing for a redefinition of the field of film studies and examining the trailer through a number existing theoretical discourses, including auteur-theory and Deleuze's ideas for the Movement and Time Image. My study will focus on Hollywood film trailers from a number of eras and cover an extensive body of case studies. Each era will be used demonstrate that trailers are artistic texts and members of a cinematic - as opposed to advertisement - culture. The first era focuses on the trailers of Alfred Hitchcock, which exhibit the early signs of innovation and artistic expression in a format still viewed overwhelmingly as an advertising context. Hitchcock himself intervenes in his trailers as an auteur - producing memorable and undeniably cinematic film texts. Hitchcock’s trailers are spaces in which Deleuzean film theory is eminently visible and the trailers discussed offer the opportunity for greater understanding of Gilles Deleuze’s work. Following Hitchcock, the ‘blockbuster’ era covers high-budget, highly commercial films from the seventies and eighties. Blockbuster trailers see strong codification of convention and style - and a re-presentation of the affect as a unit of commercial and artistic value. Martine Beugnet’s Cinema of Sensation is embodied in this group, in examples which fuse the artistic and commercial aspects of trailer identity. The final chapter examines the ‘postmodern’ trailer. In this era, the trailer moves beyond its commercial origins to the point they are often no longer applicable. Examples include 'spoof' trailers with no feature film antecedent and no detectable commercial intent. Postmodern trailers, I will argue, can be pure artistic expressions - and even work in reverse, generating commercial interest after the original instance of artistic exhibition.

by Wan-chaw Shae. / Bibliography: leaves 74-81 / Thesis (M.Ph.)--Chinese University of Hong Kong

No description available.

The early polystylism of Alfred Schnittke demonstrates a gradual movement away from strict serialism towards a more mimetic music of quotations, allusions, aleatoric techniques, and tonal styles. This thesis investigates three pieces from 1968: film music for The Glass Harmonica, Serenade for Five Musicians, and Violin Sonata No. 2, Quasi Una Sonata. The first piece is analyzed as a clash of two ideas, the transcendent and the grotesque, which are exhibited in the music’s allusions to J. S. Bach and the presence of twentieth-century aleatory and atonality. The various technical features of Serenade and Violin Sonata No. 2 show the importance of dodecaphony and motivic atonality as unifying procedures. Temporal and pitch indeterminacy are also prevalent but it is perhaps the fleeting tonal references that hint at how important appropriation of older styles would be for Schnittke’s later music.

It is always very difficult for the piano teachers to select appropriate teaching materials from many published method series. Assigning them to meet the need of each individual student is also a challenge. From the Chinese editions of several piano teaching materials, the following three elementary piano method series with similar attributes were selected as the base of this research: David Carr Glover Piano Library, Bastien Piano Library, and Alfred's Basic Piano Library. Through systematic analysis and comparison, this research reaches certain conclusions about the similarities and differences between these method series. The outcome of this research may help piano teachers in selecting method books more objectively and in improving their teaching techniques. This research compares three selected piano method series from the following four aspects: the longitudinal connection of core courses, the latitudinal connection of core courses, the functional techniques of core courses, and the degree of applicability and compatibility of the supplementary courses. Items being analyzed for the first two aspects are basic knowledge of piano playing, reading approach (including pre- staff reading, staff recognition, recognition of intervals, scales and tonalities), rhythmic training, playing techniques, and interpretation or expression. The results of all analyses are arranged in tabulate form with necessary comments. The functional techniques of core courses are summarized in four categories: sight reading, transposition, harmonization with primary chords as the accompaniment, and playing primary chord progressions. The degree of applicability and compatibility of supplementary courses in the selected series is also determined through the consideration of same items listed above. The findings of this research are threefold which reveal the uniqueness of each piano method series: 1.The "Piano Solo" book of the David Carr Glover Piano Library works better with its core courses in the latitudinal connections than the "Piano Repertoire" book. 2. The Bastien Piano Library is the only one out of the three selected series offering the functional techniques of sight reading and emphasizing the transposition technique. 3. The Alfred's Basic Piano Library performs the best in the longitudinal and latitudinal connections within its core lessons. Its selected supplementary courses and "Piano Lessons" books have the highest degree of applicability and compatibility.

Texte abrégé de: Diss.--Philosophische Fakultät--Dresden--Technische Universität, 1999. / Bibliogr. p. 515-541. Index.