Zusammengestellt von Ilka Höfer 2011/2012. Enthält: Teilnachlass Felix von Kunowski, Teilnachlass Arnold Joseph Christoffels, Teilnachlass Forschungskreis für die Sprechspur / Sammlung Rahn

Im Zentrum der vorliegenden Arbeit steht die Untersuchung der Temperamalerei in München zwischen 1850 und 1914. Die Temperamalerei entwickelte sich in diesem Zeitraum zu einem maltechnischen Trend, dem sich Vertreter unterschiedlichster Kunstrichtungen anschlossen. Die vorliegende Untersuchung ergänzt bisherige Studien zu diesem Themengebiet, die sich vorwiegend auf die Auswertung von Schriftquellen stützten, durch einen interdisziplinären Forschungsansatz, der erstmals kunsttechnologische Untersuchungen von Gemälden mit einer umfassenden Auswertung der Quellen kombiniert. Im Fokus steht die individuelle maltechnische Entwicklung von vier Künstlern, die zu den einflussreichsten Protagonisten der Münchner Kunstszene gehörten: Arnold Böcklin (1827–1901), Franz von Stuck (1863–1928), Franz von Lenbach (1836–1904) sowie Wassily Kandinsky (1866–1944). Es wird beleuchtet, wie diese äußerst unterschiedlichen Künstlerpersönlichkeiten die Temperamalerei erlernten, welche Vorbilder sie hatten und wie sie ihr maltechnisches Wissen untereinander weitergaben. Ferner wird untersucht, welchen Stellenwert die Maltechnik in ihrer Malerei einnahm und inwiefern ein Zusammenhang von Bildinhalt, formaler Gestaltung und maltechnischer Umsetzung besteht. Die Untersuchung zeigt auch die zeittypische, breite Palette der Malmaterialien und ihre Kombinationen im Bildaufbau auf: Diverse selbst hergestellte Temperafarben und kommerzielle Tempera-Tubenfarbenprodukte kamen wahlweise in einer schichtenweisen Malerei oder als Primamalerei zur Anwendung. Daraus resultiert ein breites Spektrum unterschiedlicher Erscheinungsbilder, die von einer im klassischen Sinn Tempera-ansichtigen Malerei mit strichelndem Farbauftrag bis zu einer nass-in-nass modellierten Primamalerei reichen, welche üblicherweise mit der Ölmalerei in Verbindung gebracht wird. Folglich erweiterten sich im Vergleich zu klassischen Ölmalerei mithilfe der Temperafarben die individuellen, maltechnischen Ausdrucksmöglichkeiten der Künstler. Dies ist neben einer verbesserten Haltbarkeit der Gemälde und einer rationelleren Arbeitsweise der wesentliche Grund für die Faszination, die die Temperamalerei auf die untersuchten Künstler ausübte. / This study focusses on the investigation of tempera easel painting techniques in Munich between 1850 and 1914. During this period, tempera painting evolved to a trend that was joined by various artists of different art movements. This investigation complements previous studies on this topic, which mainly relied on the analysis of written sources, with an interdisciplinary approach that combines art technological examinations and a comprehensive evaluation of the written sources. The main focus is to investigate the individual painting techniques of four important protagonists of the Munich art scene at that time: Arnold Böcklin (1827–1901), Franz von Stuck (1863–1928), Franz von Lenbach (1836–1904) and Wassily Kandinsky (1866–1944). The study outlines how they learned to paint in tempera, which models they had and how they passed on their practical knowledge. Furthermore, it shows up the wide range of painting materials and the various possibilities of their application: The artists could choose between various self-made tempera paints and commercially available tempera paint tubes, which they applied either alla prima or in layers. This results in a wide range of different paint appearances, ranging from a tempera-like appearance in the classical sense up to a wet-on-wet modelled alla prima painting, which is conventionally associated with the visual appearance of oil painting. Consequently, tempera painting helped them to extend their individual means of expression compared to traditional oil painting, which is – in addition to an improved durability and a more rational way of painting – the main reason for their fascination of the tempera painting technique.

Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master’s of Music Education degree. It contains information about music education philosophy, what defines quality literature, theoretical and historical analyses, and rehearsal plans for each of the three pieces that were performed on the Graduate Student Conducting Recital on Wednesday, March 11, 2009. Selections performed on the recital included in the document’s analysis portion include Four Scottish Dances by Malcolm Arnold, arranged by John Paynter, Mosaic, Op. 30 by Mario Gaetano, and Celebration Fanfare from “Stepping Stones” by Joan Tower, arranged by Jack Stamp. The analytical methods employed in this document and the rehearsal techniques listed are based on the Blocker/Miles unit studies and macro-micro-macro concepts from the Teaching Music Through Performance in Band book series.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this project, contextual readings of four works by Arnold van Wyk are developed. They are the Symphony No. 1 in A Minor, the First String Quartet, the Duo Concertante and the Missa in illo tempore. These readings are grounded in richly detailed descriptions of the compositional processes, drawing on material such as sketches, autographs, diaries, correspondence and reception documents, as well as in structural analyses of Van Wyk’s music and of certain peer compositions. Each reading is set in a separate theoretical frame, resulting in a multi-perspectival consideration of Arnold van Wyk’s music that partakes in a range of current disciplinary discourses. The First Symphony is discussed in the discursive context of English Sibelianism, and Arnold van Wyk’s dialogue with Sibelius’s symphonic works is investigated through comparisons of Van Wyk’s and Sibelius’s applications of two-dimensional sonata form and tragic reversed sonata form. The reading so developed sheds new musical light on the difficulties of Van Wyk’s position as a colonial composer residing in the centre of a crumbling Empire. The compositional process of Van Wyk’s First String Quartet is described in juxtaposition with the compositional process of Bartók’s Sixth String Quartet, and the similarities and differences of the two narratives and the two compositions highlight a second aspect of Van Wyk’s colonial identity, namely the ambiguity of his return to South Africa from England, neither of which place could signify “home”. The reading of the Duo Concertante focuses on the Elegia from that work, interpreting the piece as part of a network of intertextual connections, including Van Wyk’s model for this piece, Martin Peerson’s (1580-1650) The Fall of the Leafe, Gerald Finzi’s Elegy for Orchestra Op. 20, entitled The Fall of the Leaf, as well as Van Wyk’s own theme for the Rondo of the Duo, to which he made various musical references in the Elegia which are associated with the concept of “prophecy”. This intertextual reading considers Van Wyk’s continuing problematic identification with the English musical culture and tradition, compounded by his uncomfortable place in the stifling cultural establishment of apartheid South Africa. Van Wyk’s Missa in illo tempore is interpreted in a post-apartheid context. The work purports to react to the conditions in London in 1945 at the end of the Second World War (when Van Wyk first started to work on it) as well as the conditions in apartheid South Africa in 1977-1979 (when he completed the work as a commission for the Stellenbosch Tercentenary Festival). The reading considers the ethics of art that intends to respond to situations of suffering, drawing on post-Holocaust art scholarship as a theoretical frame. In developing interpretations of compositions that have never been studied in such detail or with such theoretical rigour before, the thesis makes a significant contribution to Arnold van Wyk studies, and in its application of a range of methodological tools in order to construct poetic hermeneutic readings that are grounded in musical and contextual materials, it also represents a meaningful methodological innovation. / AFRIKAANSE OPSOMMING: In hierdie projek word kontekstuele lesings van vier werke deur Arnold van Wyk ontwikkel. Hulle is die Simfonie Nr. 1 in A Mineur, die Eerste Strykkwartet, die Duo Concertante en die Missa in illo tempore. Hierdie lesings is gegrond in ryk-gedetailleerde beskrywings van die komposisieproses, waarby materiaal soos sketse, outograwe, dagboeke, korrespondensie en resepsiedokumente gebruik word, asook in strukturele analises van Van Wyk se musiek en van sekere eweknie-komposisies. Elke lesing word in ʼn afsonderlike teoretiese raamwerk gestel, sodat ʼn veelperspektiewelike oorweging van Arnold van Wyk se musiek resulteer wat deelneem aan ʼn verskeidenheid hedendaagse dissiplinêre diskoerse. Die Eerste Simfonie word bespreek in die diskursiewe konteks van Sibelianisme in Engeland, en Arnold van Wyk se dialoog met Sibelius se simfoniese werke word ondersoek deur vergelykings van Van Wyk en Sibelius se toepassings van twee-dimensionele sonatevorm en tragies-omgekeerde sonatevorm. Die lesing wat sodoende ontwikkel word, werp nuwe musikale lig op die moeilikhede van Van Wyk se posisie as koloniale komponis woonagtig in die sentrum van ʼn verkrummelende Ryk. Die komposisieproses van Van Wyk se Eerste Strykkwartet word beskryf in jukstaposisie met die komposisieproses van Bartók se Sesde Strykkwartet, en die ooreenkomste en verskille van die twee narratiewe en die twee komposisies belig ʼn tweede aspek van Van Wyk se koloniale identiteit, naamlik die dubbelsinnigheid van sy terugkeer na Suid-Afrika uit Engeland, twee plekke waarvan geeneen die betekenis van sy “tuiste” kon dra nie. Die lesing van die Duo Concertante fokus op die Elegia uit daardie werk, en dit interpreteer die stuk as deel van ʼn netwerk van intertekstuele verbindings, insluitende Van Wyk se model vir hierdie stuk, Martin Peerson (1580-1650) se The Fall of the Leafe, Gerald Finzi se Elegie vir Orkes Op. 20, getiteld The Fall of the Leaf, asook Van Wyk se eie tema vir die Rondo van die Duo, waarna hy verskeie musikale verwysings in die Elegia gemaak het wat geassosieer word met die konsep van “profesie”. Hierdie intertekstuele lesing beskou Van Wyk se aangaande problematiese identifisering met Engelse musiekkultuur en –tradisie, vererger deur sy ongemaklike plek in die verstikkende kulturele establishment van apartheid Suid-Afrika. Van Wyk se Missa in illo tempore word in ʼn post-apartheid konteks geïnterpreteer. Die werk stel sigself voor as reaksie op die toestande in Londen in 1945 teen die einde van die Tweede Wêreldoorlog (toe Van Wyk die eerste keer daaraan begin werk het) asook die toestande in apartheid Suid-Afrika in 1977-1979 (toe hy die werk voltooi het as ʼn opdrag vir die Stellenbosch Drie-Eeue Fees). Die lesing oorweeg die etiek van kuns wat ten doel het om te reageer op situasies van lyding en gebruik post-Holocaust kunsstudies as teoretiese raam. In sy ontwikkeling van interpretasies van komposisies wat nog nooit in soveel besonderhede of só teoreties nougeset bestudeer is nie, maak die tesis ʼn beduidende bydrae tot Arnold van Wyk studies, en in sy toepassing van ʼn verskeidenheid metodologiese hulpmiddels om poëtiese hermeneutiese lesings te konstrueer wat gegrond is in musikale en kontekstuele materiale, verteenwoordig dit ook ʼn betekenisvolle metodologiese vernuwing.

Berättelsen om testosteronet. En historisk studie av vetenskapen om det manliga könshormonet inom det manliga klimakteriet och homosexualitet. Syftet med denna uppsats är att undersöka hur historien och idéerna om manliga klimakteriet och testosteron är kopplade till de idéer som finns om sexualitet, moral och hur läkarna såg på det manliga klimakteriet. Syftet är också att förstå hur idéerna om det manliga klimakteriet har förändrats från 1920-talet jämfört med idag och hur det har diskuterats under åren av forskare. Vikten av testosteron och vilken roll idéerna om testosteron har spelat är också av betydelse för syftet i denna uppsats. I uppsatsen använder jag sociologen Peter Conrads teori om medikalisering. Conrad beskriver medikalisering genom att säga att det är en process där icke medicinska problem förändras och bli definierade och behandlas som medicinska problem och detta görs vanligen i form av sjukdom och störningar. I den här uppsatsen beskriver jag hur idéer om ett manligt klimakterium utvecklades under perioden 1920-talet – 1960-talet. Jag beskriver de idéer forskarna och läkarna hade om vad ett manligt klimakterium kunde vara. I uppsatsen undersöks även vilken effekt upptäckten av testosteron hade på idéer om det manliga klimakteriet. Debatten som läkarna har haft om det finns ett manligt klimakterium eller inte behandlas även i uppsatsen. I uppsatsen presenterar jag fyra olika svenska läkare och en finsk läkare från perioden 1920-talet – 1960-talet och behandlar deras idéer om det manliga klimakteriet och testosteron. Då diskussionen vänder sig till testosteronet presenterar jag Paul de Kruif som publicerade boken The Male Hormone (1945) och var en av de första att göra reklam för testosteronbehandling. Jag beskriver även medikaliseringen av det manliga klimakteriet och testosteron och varför det manliga klimakteriet och testosteron inte fick samma genomslag som det kvinnliga. I denna uppsats behandlas också förhållandet mellan de manliga könshormonen och homosexualitet. Jag undersöker varför läkare försökte använda testosteron och andra manliga hormon som ”botemedel” av homosexuella män och jag beskriver ett experiment som gjordes på homosexuella av den svenska doktorn Erik Lundberg. / The purpose of this essay is to investigate the history and ideas of the male menopause and testosterone and how they are linked to ideas about sexuality, morality and how the doctors viewed the male menopause. The aim is also to understand how ideas about the male menopause has changed from the 1920’s compared to today and how it has been discussed by scientists. The importance of testosterone and the role the ideas of testosterone have played is also of importance for the purpose of this essay. In the essay, I use the sociologist Peter Conrad's theory of medicalization. Conrad describes medicalization by saying that it is a process where non-medical problems change and become defined and treated as medical problems, and this is usually done in the form of disease and disorders. In this essay, I describe how the ideas of a male menopause evolved in the period 1920’s - 1960’s. I describe the ideas scientists and doctors had about what a male menopause could be. This essay also examines the impact the discovery of testosterone had on ideas about the male menopause. The debate that doctors have had if there is a male menopause or not is also discussed in the essay. In this essay, I present four Swedish doctors and a Finnish doctor from the period 1920’s - 1960’s and their ideas about the male menopause and testosterone. When the discussion turns to testosterone, I present Paul de Kruif who published the book The Male Hormone (1945) and was one of the first to promote testosterone treatment. I also describe the medicalization of male menopause and testosterone and why the male menopause and testosterone did not have the same impact as the female menopause. This essay also discusses the relationship between the male hormone and homosexuality. I examine why doctors tried to use testosterone and other male hormones as a "cure" of gay men and I describe an experiment conducted on homosexuals by the Swedish doctor Erik Lundberg.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Arnold van Wyk was a composer and a pianist. He recorded his largest work for piano, Night Music (1958), on LP in 1963. Steven de Groote performed Night Music on 21 July 1984 at the Cheltenham International Festival of Music. This live performance was broadcast on BBC Radio 3 on 24 September 1984 and a copy of this broadcast exists in the Arnold van Wyk collection in the J.S. Gericke Library at Stellenbosch University. Night Music is a perfect example of Van Wyk’s compositional techniques for the keyboard. It demands a considerable musical imagination and piano technique from the performer. The score of Night Music contains many detailed instructions regarding the different musical parameters and it also encloses unusual terms such as glacial or lugubre. It shows that the composer is extremely concerned to control all aspects of the performance and expects great depth of interpretation of the performer. Analysing the score of Night Music together with a performance by the composer enables one to consider two versions of “authenticated text”. The comparison between Arnold van Wyk’s recording, score and Steven de Groote’s performance allows the researcher to draw conclusions about score fidelity as a condition for “authenticity” in performance. Therefore, the primary aim of this research project is to yield interesting perspectives on notions of authenticity in performance with regard to these two particular performances of Night Music. The main body of this thesis consists of four chapters. In Chapter One a philosophical discussion about authenticity in performance is presented. Chapter Two focuses on the contextualisation of the work under discussion, including the reception and a short analysis of Night Music. It is followed by Chapter Three which compares the pianism of Arnold van Wyk and Steven de Groote. These latter two chapters form the background of the comparative performance analysis of the renditions of Night Music by these two performers which are presented in Chapter Four. Through the careful comparative analysis of Arnold van Wyk’s and Steven de Groote’s performances of Night Music it was possible to observe that a composer can present a version of his work that departs quite radically from the score. As “authenticity in performance” strives to honour the composer’s intentions as notated in the score, this discrepancy illustrates the controversial nature of the discourse on the “authentic” in music.

This thesis was planned as a cross-case study of three docent-led museum tours, examined through the lens of liminality. The liminal, as identified by anthropologist Victor Turner, is an ambiguous and transitional state that is “betwixt and between” normative structures. When applied to the art museum, I argue that the liminal is a zone of negotiation that can assist in transformation and personal meaning making through a phenomenon of thought. This study centers on the following questions: How can liminal theory, as applied to museum education, illuminate the relationships between gallery teachers, visitors, and objects? And, in what ways does liminality allow for visitors’ personal meaning making to occur? These questions were answered through the planned observation of three docent-led museum tours at the Jack S. Blanton Museum of Art at The University of Texas at Austin. Video and audio recordings, as well as observational field notes, occurred in one museum gallery and focused on one artwork, Cildo Meireles’ Missão/Missões (How to Build Cathedrals). Data was collected from narrative transcripts of the aforementioned video and audio recordings, exit interviews with docents, observational field notes taken during each tour, and observations and notes made while analyzing the video and audio footage. Two of these three tours fit within the parameters set by the researcher and, therefore, one tour was eliminated from the research findings. Content analysis is utilized in this study. This type of data analysis placed information into three categories modeled after Arnold van Gennep’s rites de passage: separation, the liminal, and aggregation. Four subcategories were subsequently discovered during this analysis: observation, connection, realization, and transformation. Conclusions determined after the analysis of this data revealed fluidity between these stages. Additionally, liminal theory illuminated the relationships between visitors, objects, and museum educators in a way that stressed that the negotiation of the artwork, meaning making, and the process of transformation are part of a collaborative journey, and that the spaces “betwixt and between” are valuable for the advancement of museum education. / text

La connexité des langues de Arnold de la famille standard double est démontrée par déformation quasiconforme. Je donne un équivalent pour les coefficients du développement en série de Laurent de l'inverse des coordonnées de Böttcher pour les polynômes quadratiques dont le point critique s'échappe. Une généralisation d'une inégalité qui sert à déterminer un domaine á l'intérieur duquel il n'y a pas de valeur critique de la fonction multiplicateur est obtenue en utilisant les différentielles quadratiques. Les travaux de Lévine sur une condition de non locale connexité de Julia infiniment satellite renormalisables sont repris, suivis de l'étude d'un modèle géométrique des renormalisations satellites générant un modèle topologique hypothétique d'un compact invariant dans l'ensemble de Julia de ces polynômes.

No description available.

This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.