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1	A Study of Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 by Johann Joseph Fux: the Historical Significance as Works for Alto Trombone and Performance Considerations, a Lecture Recital together with Three Recitals of Selected Works by J. Albrechtsberger, R. Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others Babcock, Ronald D. (Ronald Dean) 05 1900 (has links) Johann Joseph Fux's influence on the development of eighteenth-century alto trombone literature is significant. His music, when compared with that of other composers who wrote for the alto trombone before 1730, reveals a more elaborate and frequent use of the instrument. Many of Fux's compositions call for alto, tenor, or bass trombone, but his Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 are of particular interest in regard to the composer's treatment of the alto trombone. This study points out the technical demands placed on the trombonist in Fux's works as compared to such contemporary composers as Antonio Caldara and Marc'Antonio Ziani. The primary goal of this study is to substantiate the importance of Fux's role in the development of the alto trombone repertoire. Published and unpublished works by Fux that significantly incorporate the instrument have been studied and compared to compositions of his contemporaries. A thorough discussion of Sonata a Quattro and Alma Redemptoris Mater illustrates the technical aspects of his alto trombone writing. The secondary goal of this study is to create a performing edition of Sonata a Quattro and Alma Redemptoris Mater. The existing editions in Denkmaler der Tonkunst in Osterreich and Johann Joseph Fux, Samtliche Werke are less than complete. There are no individual parts for performers, and tempo indications for several movements are missing. Mistakes in the parts of Sonata a Quattro and discrepancies between the figured bass and continuo realization have been corrected for the creation of a new edition. Tempo, ornamentation, instruments, and articulation are also discussed to assist in the presentation of an historically informed performance of the Sonata a Quattro and Alma Redemptoris Mater. alto trombone Johann Joseph Fux Trombone -- Performance.
2	COMMENTARIUS IN FUXII GRADUM AD PARNASSUM AD USUM DISCIPULORUM Parsons-McCrackin, RJ 01 January 2012 (has links) Ioannes Fuxius per Aevum quod dicitur Baroccum, quo tempore gustus musici celeriter mutabantur, musicum enchiridion palmare, cui titulus Gradus ad Parnassum, edidit. Quo libro modos musicos componendi ratio aetate artium renatarum exorta cum ratione aevo Barocco usitata coniungitur. Auctor historiam artis musicae, vocabula artis propria, normas hoc opere docet per dialogum Latinum et faberrime scriptum, qui inter Palestrinae personam et eam discipuli personam, quam auctor ipse agit, habetur. At nostris temporibus Fuxius innotuit, quod quasi ante omnium oculos regulas uniuscuiusque Speciei Contrapuncti posuit. Liber eius igitur in multos sermones vernaculos est versus etiam paucis annis post primam divulgationem. Nunc temporis quoque in scholis musicis in omnibus orbis terrarum partibus sitis docetur. Hanc commentatiunculam paravi in usum discipulorum qui capita, ubi Species Contrapuncti duarum vocum enodantur, Latino sermone primigenio atque perlucido legere vellent. During the Baroque Era, a time of quickly-changing musical tastes, Johann Fux wrote a seminal music composition textbook, the Gradus ad Parnassum, that bridges the gap between Renaissance Counterpoint and High Baroque Style. Through the beautifully-written, Latin dialog between a teacher (in the persona of Palestrina) and a student (Fux himself), the author teaches the reader about the history, nomenclature and norms of composition. Today the name Fux is synonymous with Species Counterpoint and his celebrated text, translated into many vernacular languages within years of its first publication, is read in music-theory classrooms around the world. This commentary is prepared for the use of students who wish to read the chapters on two-voice Species Counterpoint in the original, and highly accessible Latin. Johann Fux Gradus ad Parnassum Species Counterpoint Music Theory Latin Classics
3	Neue Quellen zur Johann Joseph Fux-Forschung Hamann, Heinz Wolfgang 27 March 2020 (has links) No description available. Johann Joseph Fux, Forschung, Quellen info:eu-repo/classification/ddc/780 ddc:780
4	Gottfried Heinrich Stölzels Fux-Rezeption: Zur Rolle des »alten« Kontrapunkts und der »trias harmonica« in der Kompositionsausbildung zu Beginn des 18. Jahrhunderts Vogt, Florian 22 October 2023 (has links) No description available. info:eu-repo/classification/ddc/780 ddc:780
5	Ein alter Hut Taubner, Stefan, Fehser, Stefan, Henz, Florian, Seliger, Robert, Hoffmann, Sabine, Hofmann, Kristin, Träger, Christian 19 January 2015 (has links) (PDF) In diesem Reader sollen die studentischen Verbindungen deutschen Typs unter die Lupe genommen und ein kritischer Blick auf die Dresdner Verbindungslandschaft geworfen werden. Der Reader besteht dabei aus einem allgemeinen Teil über studentische Verbindungen, in dem unter anderem die Rolle beim Aufstieg des Nationalsozialismus beleuchtet wird, und einer genauen Betrachtung der einzelnen Dresdner Verbindungen und deren Vernetzung untereinander.Die Lebenswelt studentischer Verbindungen hat den Charakter einer Parallelgesellschaft, die ihre ganz eigene Sprache besitzt. Typisches Vokabular, welches auch zum Verstehen der Texte gebraucht wird, findet sich im Glossar erklärt. verbindungen dresden kritik korporationen burschenschaften corps Burschi Reader Cheruscia Teutonia Mensur Arion Fux GFSK Chursachsen Cervidia Silvania Maria -Josefa Altsachsen Abraxas-Rheinpreußen Salamandria Tradition Studentenverbindung Studentenverbindung student association ddc:371.85 rvk:AL 48700 rvk:NZ 14720 rvk:NZ 14820 Dresden Studentenverbindung Geschichte
6	Estudo comparativo de técnicas de estimativa do fluxo estatórico de MIT Silveira, Augusto Wohlgemuth Fleury Veloso da 02 March 2007 (has links) Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work shows and compares three different flux estimator algorithms developed for use in high-performance sensorless ac motor drives. The first algorithm uses a low pass filter with a very low cut off frequency to integrate the back electromotive force (emf). The second one uses a high pass filter to remove the offset present in the signal before it s integration. The third algorithm uses current and voltage model to estimate the flux of induction motor. These algorithms can be used to accurately measure the motor flux including magnitude and phase angle over a wide speed range. The performance of the algorithms is investigated, compared, and verified using simulation and experimental tests. / Este trabalho tem como objetivo apresentar uma comparação entre três algoritmos estimadores de fluxo estatórico diferentes. Estes algoritmos foram desenvolvidos para serem usados no projeto de acionamentos de alto desempenho, sem sensor de velocidade, para motores de indução. O primeiro algoritmo adotado utiliza um filtro passa baixa com uma freqüência de corte baixa para resolver a integração. O segundo algoritmo usa um filtro passa alta para retirar o offset do sinal de entrada do integrador puro. O terceiro algoritmo é um algoritmo híbrido que utiliza os modelos de tensão e corrente em paralelo para estimar o fluxo. Os algoritmos estimam fluxo estatórico em uma ampla faixa de freqüência de funcionamento do motor de indução e foram implementados na forma de simulação e experimentalmente para comparar o funcionamento dos mesmos em diferentes velocidades de operação do motor. / Mestre em Ciências Motor de indução Estimativa de conjugado Estimativa de fluxo Filtro passa baixas Filtro passa altas Integrador puro Motores elétricos de indução Induction motor Torque estimation Fux estimation Low pass filter High pass filter Pure integrator CNPQ::ENGENHARIAS::ENGENHARIA ELETRICA
7	Ein alter Hut: Kritik studentischer Verbindungen in Dresden Taubner, Stefan, Fehser, Stefan, Henz, Florian, Seliger, Robert, Hoffmann, Sabine, Hofmann, Kristin, Träger, Christian January 2011 (has links) In diesem Reader sollen die studentischen Verbindungen deutschen Typs unter die Lupe genommen und ein kritischer Blick auf die Dresdner Verbindungslandschaft geworfen werden. Der Reader besteht dabei aus einem allgemeinen Teil über studentische Verbindungen, in dem unter anderem die Rolle beim Aufstieg des Nationalsozialismus beleuchtet wird, und einer genauen Betrachtung der einzelnen Dresdner Verbindungen und deren Vernetzung untereinander.Die Lebenswelt studentischer Verbindungen hat den Charakter einer Parallelgesellschaft, die ihre ganz eigene Sprache besitzt. Typisches Vokabular, welches auch zum Verstehen der Texte gebraucht wird, findet sich im Glossar erklärt.:Teil 1 Studentische Verbindungen- ein alter Hut? 7 Studentische Verbindungen und Nationalsozialismus 13 Elite sein - Ziel korporationsstudentischer Erziehung 20 Exkurs: Deutsche Burschenschafter aus Chile? 24 Teil 2 Studentische Verbindungen in Dresden 25 Corps Teutonia 28 Interview mit ehem. Teutonia-Bewohner 30 Aachen- Dresdner Burschenschaft Cheruscia: 33 AMV Arion 37 Interview mit Arionmitglied 38 KDStV Chursachsen 41 Turnerschaft Germania 43 Gesellschaft zur Förderung studentischer Kultur (GFSK) 45 Jagdcorporation Cervidia 49 Corps Silvania 51 A.D.V. Regia Maria -Josefa zu Dresden 53 Verein Deutscher Studenten Dresden 55 K.St.V. Abraxas-Rheinpreußen 57 Corps Altsachsen 59 Burschenschaft Salamandria 61 Übersichtsplan der Dresdner Verbindungen 63 Glossar 64 Weiterführende Literatur 71 info:eu-repo/classification/ddc/371.85 ddc:371.85 Dresden; Studentenverbindung; Geschichte Studentenverbindung, student association
8	Generalbass als Mittler zwischen Harmonie und Kontrapunkt: Zur Kreuzung von Satzkonzeptionen in Joseph Riepels Anfangsgründen Wiener, Oliver 22 September 2023 (has links) Der Beitrag diskutiert zunächst den Generalbasses als Notationsform oder ‚Aufschreibesystem‘ im musikgelehrten Diskurs in der Mitte des 18. Jahrhunderts. Dann wird seine Rolle in der Akkordbildungs- und Satzlehre in Joseph Riepels Anfangsgründen zur musicalischen Setzkunst untersucht. Riepel benutzt ihn als kombinatorisches Programm zur Bildung von Akkorden (in der Gründlichen Erklärung der Tonordnung insbesondere, 1757), nutzt sein Potential aber auch in Form von Sequenzmodellen bei seiner Überarbeitung von älteren Kontrapunktübungen nach Johann Joseph Fux und Meinrad Spieß. Generalbass dient ihm mithin als Medium theoretischer Reflexion wie auch einer modernisierenden Transformation des musikalischen Satzes. Für Riepel ist es typisch, dass mit kleinen versatilen Theoriesegmenten, ausgehend von Beispielen, arbeitet. Eine reduktive Theorie, die den Anspruch einer allgemeinen Gültigkeit haben soll, liegt ihm fern. Insofern spiegelt seine Art der Theoriebildung die Aufspaltung des Stilbegriffs nach 1750 in eine Vielzahl lokaler Praktiken. / The paper first discusses the thorough bass as a form of notation or operational writing technique (F. Kittler) in musicological discourse in the mid-18th century. Then, its role in chord formation and movement theory is examined in Joseph Riepel's Anfangsgründe zur musicalischen Setzkunst. Riepel uses it as a combinatorial program for the formation of chords (in the Gründliche Erklärung der Tonordnung insbesondere, 1757), but also exploits its potential in the form of sequence models in his revision of older counterpoint exercises after Johann Joseph Fux and Meinrad Spieß. Thorough bass thus serves him as a medium of theoretical reflection as well as a modernizing transformation of the musical movement. For Riepel it is typical to work with small versatile theory segments, starting from examples. A reductive theory, which should have the claim of a general validity, is far from him. In this respect, his way of theorizing reflects the splitting of the concept of style after 1750 into a multitude of local practices. info:eu-repo/classification/ddc/780 ddc:780

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