Based on Ladislaus v. Bortkiewicz' 'classical' approach to the transformation problem it is endeavoured to show that the only proper method to allocate profits is the distribution of the surplus in proportion to the input of labour. The model permits the revelation of the defects of the traditional ('Bortkiewicz-prices') as well as those of modern ('Sraffa-prices') theory concerning prices of production. If equilibrium prices were calculated according to one of these rules, no social division of labour would occur. In contrast to this, the labour theory of value overcomes the difficulties mentioned. The transformation problem turns out to be a pseudo-problem. / Auf der Grundlage des "klassischen" Ansatzes zur Behandlung des Transformationsproblems von Ladislaus v. Bortkiewicz wird der Nachweis angestrebt, daß die Verteilung des Überschusses nach Maßgabe des Arbeitseinsatzes die einzig stimmige Methode der Profitaufschlüsselung darstellt. Das Modell erlaubt es, sowohl die Defekte der traditionellen ("Bortkiewicz-Preise") als auch der modernen Produktionspreistheorie ("Sraffa-Preise") ans Licht zu bringen: Würden die Gleichgewichtspreise nach einer dieser Vorschriften gebildet, käme es zu keiner gesellschaftlichen Arbeitsteilung. Im Unterschied dazu meistert die Arbeitswertlehre diese Schwierigkeiten. Das Transformationsproblem entpuppt sich als ein Scheinproblem.

The purpose of this study is to analyze the first movements of Sergei Bortkiewicz's two piano sonatas and compare them with works by other composers that may have served as compositional models. More specifically, the intention is to examine the role of the subdominant key in the recapitulation and trace possible inspirations and influences from the Classical and Romantic styles, including Mozart, Beethoven, and Schubert. The dissertation employs Schenkerian analysis to elucidate the structure of Bortkiewicz's movements. In addition, the first movement of Mozart's Piano Sonata K. 545, Beethoven's Coriolan Overture, and the first movement of Schubert's "Trout" Quintet in A, D. 667, are examined in order to illuminate the similarities and differences between the use of the subdominant recapitulation by these composers and Bortkiewicz.

Based on Ladislaus v. Bortkiewicz' 'classical' approach to the transformation problem it is endeavoured to show that the only proper method to allocate profits is the distribution of the surplus in proportion to the input of labour. The model permits the revelation of the defects of the traditional ('Bortkiewicz-prices') as well as those of modern ('Sraffa-prices') theory concerning prices of production. If equilibrium prices were calculated according to one of these rules, no social division of labour would occur. In contrast to this, the labour theory of value overcomes the difficulties mentioned. The transformation problem turns out to be a pseudo-problem. / Auf der Grundlage des "klassischen" Ansatzes zur Behandlung des Transformationsproblems von Ladislaus v. Bortkiewicz wird der Nachweis angestrebt, daß die Verteilung des Überschusses nach Maßgabe des Arbeitseinsatzes die einzig stimmige Methode der Profitaufschlüsselung darstellt. Das Modell erlaubt es, sowohl die Defekte der traditionellen ("Bortkiewicz-Preise") als auch der modernen Produktionspreistheorie ("Sraffa-Preise") ans Licht zu bringen: Würden die Gleichgewichtspreise nach einer dieser Vorschriften gebildet, käme es zu keiner gesellschaftlichen Arbeitsteilung. Im Unterschied dazu meistert die Arbeitswertlehre diese Schwierigkeiten. Das Transformationsproblem entpuppt sich als ein Scheinproblem.

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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed. / Masters Thesis