Texte remanié de: Habilitationsschrift--Philosophisch-Historische Fakultät--Universität Bern, 2003. / Bibliogr. p. [862]-896.

Texte remanié de: Diss.--Philosophische Fakultät--Göttingen--Georg-August-Universität, 1997. / Bibliogr. p. 256 -266. Index.

Thèse de doctorat : Études germaniques : Paris 12 : 2003. / Version électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. : 790 réf.

No description available.

The name Lemmens did not only have significance for his students, but also for several critics. Jaak Nikolaas Lemmens (1823-1881) had an enormous impact on the art of the organ music in France in the nineteenth century. The American public knew him as a result of his three Organ sonatas. The works of Bach and other composers like Mendelssohn mainly influenced his performance. Lemmens was seen as a French organist and in the nineteenth century it was not common for a French organist to include works of German composers in concerts due to the mainstream of playing, which was improvisation. He also taught his students on the model of Bach. Hesse introduced Lemmens to the German organ style. One of his students, Alexandre Guilmant (1837-1911), carried on with this tradition. He went on to become one of the great organ-composers of the nineteenth century and was also one of the first to compose a sonata. Guilmant often included the works of German composers in his recitals and had insight into the works of Mendelssohn on his many visits to England. Although both these composers were French, they came under the influence of the German organ tradition. The formal structures, counterpoint and fugues included in their sonatas, are a direct reference to the Trio sonatas of JS. Bach and the organ sonatas of Mendelssohn. In this study, a short introduction to the organ tradition in nineteenth-century France will be given as well as some information about Lemmens and Guilmant. The influence of the German organ tradition on the Three Sonatas of Lemmens and the Eight Sonatas of Guitmant will be shown and it will be proven that indeed the German masters had an influence on the French organ music of the nineteenth century. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2004.

No description available.

No description available.

The name Lemmens did not only have significance for his students, but also for several critics. Jaak Nikolaas Lemmens (1823-1881) had an enormous impact on the art of the organ music in France in the nineteenth century. The American public knew him as a result of his three Organ sonatas. The works of Bach and other composers like Mendelssohn mainly influenced his performance. Lemmens was seen as a French organist and in the nineteenth century it was not common for a French organist to include works of German composers in concerts due to the mainstream of playing, which was improvisation. He also taught his students on the model of Bach. Hesse introduced Lemmens to the German organ style. One of his students, Alexandre Guilmant (1837-1911), carried on with this tradition. He went on to become one of the great organ-composers of the nineteenth century and was also one of the first to compose a sonata. Guilmant often included the works of German composers in his recitals and had insight into the works of Mendelssohn on his many visits to England. Although both these composers were French, they came under the influence of the German organ tradition. The formal structures, counterpoint and fugues included in their sonatas, are a direct reference to the Trio sonatas of JS. Bach and the organ sonatas of Mendelssohn. In this study, a short introduction to the organ tradition in nineteenth-century France will be given as well as some information about Lemmens and Guilmant. The influence of the German organ tradition on the Three Sonatas of Lemmens and the Eight Sonatas of Guitmant will be shown and it will be proven that indeed the German masters had an influence on the French organ music of the nineteenth century. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2004.

Master of Visual Arts / The title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.

Univ., Magisterarbeit u.d.T.: Graf, Matthias: Zinzendorf und die Herrnhuter Brüdergemeinde in der Grafschaft Büdingen--Mainz, 2005.