Работа посвящена анализу визуальных приемов в романистике Джонатана Сафрана Фоера. В первой части работы рассматриваются теоретические и методологические основания исследования. В ней раскрываются особенности семиотической природы фотографии, особенности типографического стандарта, влияние графических элементов на идейный уровень текста, а также то, как их использование воздействует на реципиента. Во 2-ой части работы анализируется, как Дж. Фоер реализует прием включения фотографических изображений в текст в романе «Жутко громко и запредельно близко», также внимание уделено анализу графических элементов в романе «Жутко громко и запредельно близко». Описана структурная организация фотографических изображений, разобраны графические приемы такие как натурализация текста, использование различных типов шрифтов, фигурные приемы организации текста на странице, вынесение предложений на отдельные страницы; вставка пустых страниц; обведение слов и фраз в тексте; «уплотнение» текста; шифровка. Помимо этого, был рассмотрен такой визуальный прием, как метод «стирания», реализованный в «Древе кодов». Был рассмотрен прецедентный текст Бруно Шульца, разобрана его структура, образная и пространственно-временная организации, проанализировано нарушение типографической нормы, а также читательская практика Фоера. Был сделан вывод о том, что метод «стирания», реализованный Фоером, является больше чем экспериментом с типографскими нормами. По итогам работы сделан вывод об экспериментальной природе визуальной организации романов Дж. С. Фоера. / The work is devoted to the analysis of visual techniques in the novels by Jonathan Safran Foer. In the first part of the paper, the theoretical and methodological foundations of the study are defined. It reveals the semiotic nature of photography, the features of the typographic standard, the influence of graphic elements on the ideological level of the text, and the way it affects the recipient. The second part of the paper deals immediately with the types of photographic images and the ways of their inclusion into the text of "Terribly loud and extremely close", also attention is paid to the analysis of graphic elements in the novel “Terribly loud and extremely close”. The structural organization of photographic images is described, graphic techniques such as naturalization of the text, use of various types of fonts, figurative organization of the text on page, syntactic break up of sentence; inserting blank pages; highlighting, encryption are analyzed. In addition, such visual technique as the “erasure” method implemented in the “Tree of Codes” was considered. The precedent text of Bruno Schultz was studied, primarily in terms of its structure, figurative, special and temporal organization were analyzed, along with the pragmatics of the typographical norm violations and Foer’s “message” to the reader. It was concluded that the “erasure” method implemented by Foer was more than an experiment with typographical norms. Based on the results of the work, a conclusion was made on the experimental nature of the visual organization of J. S. Foer’s novels.

Une première partie, après l’introduction, est consacrée aux deux passions de Jean-Sébastien Bach, la musique et la théologie-à l’héritage européen du compositeur, tant au point de vue musical que théologique. La seconde partie s’attache à l’analyse d’œuvres de Bach. La cantate Christ lag in Todesbanden a une place essentielle dans la liturgie protestante. Le compositeur reprend les versets du cantique du même nom écrit par Luther. L’attachement du Réformateur est viscéral pour le mystère de la Rédemption et son instrument, la Croix. Jean-Sébastien Bach éprouve la même adoration pour le Christ supplicié, mais il insiste fortement sur l’aspect lumineux de l’autre mystère du Christ, la Résurrection. La cantate Ich hatte viel Bekümmernis introduit le dialogue entre l’âme et Jésus qui laisse pressentir les futures consolations réservées à l’âme qui s’interroge sur l’abandon de Dieu. Une atmosphère de joie débordante en finale de l’œuvre avec jeu de timbales affirme la confiance en Dieu. Matthäus-Passion se termine certes par le repos serein du Christ dans le tombeau, mais la Passacaille, la Messe d’orgue du Klavierübung III soulignent l’hommage au Christ triomphant de la Mort, en accord avec les deux autres personnes de la Trinité. Une troisième partie montre que certaines œuvres dites profanes ont un caractère religieux. On retrouve la symbolique du Christ et du Dieu trine dans des fugues du Clavier bien tempéré. La théologie de la Croix de Luther est suivie par la théologie de la Gloire dans l’œuvre de Bach comme chez les théologiens scolastiques / A first part, after the introduction, is devoted to the two passions of Johann Sebastian Bach, music and theology-to the European heritage of the composer, from a musical as well as a theological. The second part sticks to the analysis of works of Bach. The Cantata BWV4 Christ lag in Todesbanden has an essential place in the Protestant liturgy. The composer takes up again the verses of the canticle of the same name written by Luther. The attachment of the Reformer to the mystery of Redemption and its instrument the Cross is deep-rooted. Johann Sebastian Bach feels the same worship for Christ executed, but he strongly insists on the luminous aspect of the other mystery of Christ, the Resurrection. The Cantata BWV21 Ich hatte viel Bekümmernis introduces the dialogue between the heart and Jesus which gives a feeling of the future divine consolations reserved for the soul wondering about God's abandonment. An atmosphere of overflowing joy in the finale of the work with a play of trumpets asserts confidence in God. Saint Matthew's Passion certainly ends with the serene rest of Christ in the sepulchre, but the Passacaglia in C minor, and the Mass Organ part of Clavierübung III underline homage to Christ triumphing over Death, in harmony with the other two persons of the Holy Trinity. A third part shows that some profane works have a religious character. One finds the symbolism of Christ and the triune God in Fugues from the Well-Tempered Clavier. Luther’s theology of the Cross is followed by the theology of Glory in the work of Bach, as with the Scholastic theologians

Ferruccio Busoni (1866-1924) has a firmly established reputation as one of the giant pianists of his age, yet his compositions are largely neglected both in musicological circles and on the concert stage. A better understanding of his thought processes might lead to a greater appreciation of his art, and the acknowledgement of his reverence for the music of Bach is an important key to such an understanding. Busoni's Fantasia nach Bach and Toccata, although two decidedly dissimilar compositions in terms of purpose and conception, represent two manifestations of Busoni's respect for Bach, whether it be in the form of assimilating Bach's compositions into one of his own, or by creating an original work to the same mold as some of Bach's works.

My aim with this essay is to investigate if Australia's approach; implementation of lockdown, vaccine passport and restriction of the right of assembly and the impact on public protest is compatible with John Stuart Mill's harm principle. I found a conflict between the individual freedom and harm to others. One the one hand, to implement restrictions intervenes with the autonomy of an individual; of one’s body, freedom to move around freely and with freedom of speech. But on the other hand, not implementing these restrictions could potentially harm others by letting the virus spread in the society. My interpretation of Mill's harm principle is that liberty originates from the individual as a progressive being, hence I claim that allowing people to live their life as they chose -”experiment of living”, will lead to a better and happier society. I argue that the Australian government's approaches during the Covid 19 pandemic was not compatible with the harm principle’s individualistic core as I claim Australia neglected individual freedom. However, I argue that some restrictions might be compatible to the harm principle if they are proportional, time limited and properly scrutinised.

The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J. S. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. This comparison is made on the basis of a comprehensive analysis of the fugal expositions both collections of fugues mentioned ( The Well-Tempered by Bach and the Ludus Tonalis by Hindemith). Chapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. An emphasis is placed on a comparison of Bach's fugal writing with that of his immediate predecessors (composers of the seventeenth and early eighteenth centuries who were writing in the fugal style) and on a comparison Of Hindemith's theory of tonality, as expressed in The Craft of Musical Composition, with that of the traditional harmonic concept of Bach's day. Chapter II deals with the evolution of the fugal concept. In this chapter, imitative forms of composition which gradually evolved toward the fugue are traced from their very early beginnings through the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the fugal form that Bach used and on Hindemith's neo-Baroque approach to fugal writing in the twentieth century. In Chapters III and IV, analyses are made of the expositions in the forty-eight fugues of Bach's Well-Tempered Clavier and Hindemith's Ludus Tonalis .There is a discussion of the number of voices, order of entries", order of statements of the theme, key relationships, and redundant entries. Also discussed In these chapters are the beginning and ending notes of the Subject, a change in tonality of the subject range and length of the subjects. There is, further, a discussion of the real and tonal answers and the reasons for the use of a tonal answer, recurring countersubject, invertible counterpoint, interludes, length of the exposition, and the cadences at the end of the fugue expositions. in Chapter V the fugal writing of Bach, as demonstrated in the fugue expositions of The Well-Tempered Clavier, and that of Hindemith, as demonstrated in the fugue expositions of the Ludus Tonalis, are compared. This comparison of these two styles of fugal writing shows the two composers' techniques and procedures to be very much alike except in Hindemith's expanded concept of tonality. Although Bach's set of fugues has set a standard for this type of writing, Hindemith has shown that this old form is still capable of being used with originality when adapted to twentieth-century practices.

Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.

Rattachés à la tradition musicale occidentale savante, les travaux présentés dans cette thèse portent sur l’analyse de l’interprétation des œuvres de la période baroque (1600-1750) au piano. L’interprétation a été étudiée en lien avec deux compositions pour clavier seul : un extrait du dernier mouvement de la Partita en do mineur BWV 826 de J. S. Bach (1685-1750) et le Passepied GWV 325 de C. Graupner (1683-1760). Ces œuvres ont été jouées et enregistrées selon trois styles d’interprétation contrastants (romantique, moderne et rhétorique) dans le contexte de deux études expérimentales. Une étude auto-ethnographique a visé le développement d’un protocole d’analyse qualitative et quantitative de l’interprétation d’une œuvre de Bach selon les principes des trois styles. Une étude de cas a permis d’explorer la mise en pratique d’une méthode de travail pour le développement d’une démarche artistique informée et exploratoire en interprétation. Une approche mixte d’analyses qualitatives et quantitatives a été utilisée dans les deux études pour révéler les rapports entre différents types de paramètres d’exécution (dont les variations de tempo, l’articulation, la dynamique, la pédale ou l’expression) et les descriptions stylistiques (dont l’auto- explicitation des participants). En s’appuyant sur une étude de l’interprétation de la musique baroque au 20e siècle, un pianiste (l’auteur de la thèse) a enregistré un extrait de la Partita en do mineur (BWV 826) selon trois esthétiques contrastantes (romantique, moderne, rhétorique). Le jeu du pianiste a été capté en format de données MIDI sur un piano Yamaha Disklavier DC7X. Une description verbale de chaque style a été obtenue suivant la technique de l’auto-explicitation réalisée par le pianiste. Les captations sonores de chaque extrait ont ensuite été présentées à une auditrice experte, spécialiste en enregistrement du piano, ce qui a permis d’obtenir une perspective externe sur les interprétations. Les analyses de l’étude auto- ethnographique ont montré une cohérence entre les descriptions stylistiques, l’auto-explicitation du pianiste, les évaluations qualitatives par l’auditrice externe et les données quantitatives relatives aux paramètres d’interprétation. Ces résultats suggèrent qu’une compréhension des principes d’interprétation aiderait à construire une interprétation dont les attributs paramétriques sont cohérents et conformes avec les postulats stylistiques de départ. Ce protocole de recherche a été approfondi dans une étude de cas réalisée avec une pianiste titulaire d’un doctorat de la Faculté de musique de l’Université de Montréal. Des consignes écrites ont été envoyées à la participante et l’étude s’est déroulée en cinq étapes : interprétation de référence, analyse de la partition par accents immanents, analyse stylistique, interprétation selon les trois styles et interprétation idéale. Les analyses ont confirmé la cohérence entre les règles stylistiques, les propos de la participante recueillis durant des entretiens semi-dirigés et les paramètres quantitatifs extraits de sa performance. Les mesures et les proportions des différents paramètres de l’interprétation ont été établies à l’aide d’une nouvelle technique de « quantification de la perception ». L’analyse qualitative a révélé un sentiment de liberté et de contrôle que la participante a éprouvé en créant son interprétation dans des conditions déterminées et fondées sur des règles. En s’appuyant sur le modèle proposé par l’étude auto-ethnographique, l’étude de cas aura permis à la pianiste de créer un style hybride, original et idiosyncrasique. Ce modèle de développement de l’interprétation peut s’appliquer dans un contexte de formation des musiciens et musiciennes où la connaissance des styles et du contexte historique et esthétique constituera les bases de la création artistique individuelle. / In the context of the Western musical tradition, the research presented in this thesis centres on the analysis of the interpretation of works from the Baroque period (1600–1750) at the piano. The interpretation was studied in relation to two compositions for solo keyboard: an excerpt from the last movement of the Partita in C minor BWV 826 by J.S. Bach (1685–1750) and the Passepied GWV 325 by C. Graupner (1683–1760). These works were performed and recorded in three contrasting styles (romantic, modern, and rhetorical) in the context of two experimental studies. An auto-ethnographic study aimed to develop a protocol for qualitative and quantitative analysis of the performance of a work by Bach according to the principles of each of the three styles. A case study tested the application of a practical method for the development of an informed and exploratory artistic approach in performance. A mixed approach of qualitative and quantitative analysis was used in both studies to reveal relationships between different types of performance parameters (including tempo variations, articulation, dynamics, pedalling, or expression) and stylistic descriptions (including participants’ commentaries). Based on a study of baroque music performance in the 20th century, a pianist (the author of this thesis) recorded an excerpt of Bach’s Partita in C minor (BWV 826) according to three contrasting styles (romantic, modern, and rhetorical). The pianist’s performance was captured in MIDI data format using a Yamaha Disklavier DC7X piano. A verbal description of each style has been provided by the pianist through a self-explicitation exercise. Each audio recording was then presented to an expert auditor, a specialist in piano recordings, who provided an external perspective on the interpretation. The analysis of the auto-ethnographic study showed consistency between the stylistic descriptions, the self-assessment of the pianist/participant, the qualitative evaluations by an expert listener, and the quantitative data pertaining to musical parameters. These results suggest that an understanding of the principles of interpretation may help shape an interpretation whose parametric attributes are consistent with the original stylistic postulates. This research protocol was further developed in a case study carried out with a pianist who had completed her doctorate at the Faculty of Music of the University of Montreal. Based on written instructions sent to the participant, the study unfolded in five stages: a baseline or control performance, a score analysis by immanent accents, a stylistic analysis, a performance according to three styles, and an ideal interpretation. The analysis confirmed the consistency between the stylistic rules, the pianist’s verbal output collected in interviews, and the quantitative parameters extracted from her performance. The measures and proportions of various performance parameters were established using a new technique of “perceptual quantification.” Qualitative analysis revealed a sense of freedom and control experienced by the participant as she developed her interpretation under predetermined, rule-based conditions. Building on the model proposed by the auto-ethnographic study, the case study allowed the pianist to create a hybrid, original and idiosyncratic style. This model for the development of interpretation can be applied to musician training in which knowledge of style as well as historical and aesthetic context provides the foundation of individual artistic creation.

abstract: The core element of this research paper is an analysis of the B-flat minor prelude and fugue BWV 867. The author’s analysis is then compared with the main contributors to Bach’s analytical studies. An understanding of the work’s structure, together with its motivic and harmonic details, help the performer develop an interpretive approach to the work. Significant Bach scholars, including David Ledbetter and Peter Williams, are used as the source for the additional works to be studied. These scholars also mention close associates of Bach who offer additional insight into his music: Kirnberger and Weiss. The paper includes a brief discussion of the opening chorus fugue BWV 64, instrumental prelude to the cantata BWV 106, chorale prelude BWV 721, and Tombeau sur la Mort de Mr Comte de Logy by Weiss, as they relate to the B-flat minor prelude and fugue. In addition, the analysis provides materials on how the elements of the work relate to the Doctrine of Affections. From the B-flat minor prelude and fugue, the harmonic progressions and figuration are examined from the point of view of the Doctrine. The research also examines the fugue subject, with its unusual leap of a minor 9th, to its structural connection to the opening chorus fugue of BWV 64, and its ties to the Doctrine. Through the analysis of the B-flat minor prelude and fugue and a comparison to works by Bach that are stylistically connected to this work, the author offers insights into the music and its relationship to works that have a sacred text association. / Dissertation/Thesis / Doctoral Dissertation Music 2020

The main purpose of this dissertation is to offer classical guitarists an additional analytical technique for interpreting and performing the music of Johann Sebastian Bach. While this mode of analysis can be successfully applied to any of the instrumental works by Bach frequently transcribed and performed by guitarists, I have chosen for this study my recent transcription of the Partita in A minor for solo flute traverso, BWV 1013. With a continuo-based, harmonic realization of the Partita, I contribute to the existing guitar repertoire by offering a new transcription of this work, while demonstrating how historical concepts of rhetorical structure and aesthetics found in relevant primary source material can inspire a new approach to analysis, transcription, and performance practice. In this way, my investigations create additional perspectives for classical guitarists regarding the analysis and performance of this work, while complementing traditional harmonic analysis and subject labeling. Although it is my hope that this new transcription of the Partita will serve as an important contribution to the existing literature, the main purpose of this dissertation resides in the musico-rhetorical analytical technique and its implications on performance practice for classical guitarists.

A cathedral of the Church of England is the seat of the bishop and a centre of worship and mission. The history of this institution is followed from the English Reformation, which it survived, through to the Commonwealth, which it did not. Restored on the return of the monarchy, it then survived with little further trouble until the nineteenth century, when a lot of its income was diverted to the provision of churches and ministers for the populous urban and industrialised areas, which the Church could not fund in any other way. It was the subject of investigation by two Royal Commissions in the nineteenth century and three church-inspired commissions in the twentieth. These commissions stressed the links that should exist between cathedral, bishop and diocese, which the nineteenth century diocesan revival also encouraged, and suggested changes in instruments of governance to achieve this. Some proposals came to nothing, but others were brought into law. Unlike the Roman Catholic cathedral, the Anglican one never lost its autonomy. The religious situation in Britain today is considered in the light of some contemporary sociology and psychology, and it is recognised that the continued decline in the fortunes of the Church is tied up with the massive subjective turn which characterises contemporary culture. The cathedral has not shared the mistrust which faces the Church, and its various roles are discussed in the light of its continued hold on public affection. The conclusions reached are that, although the cathedral now has strong links with bishop and diocese, it should retain its independence within relationships of interdependence with them, to enable it to harness the popularity which it enjoys to remain a centre of worship, but primarily to concentrate on being a centre of mission. Appropriate ways of achieving that are discussed.