Zugl.: Diplomarbeit

Rachmaninoff, one of the greatest Romantic composer of the turn of 19-20 centuries, characterized by his lyrical melody, rich changing chords, and others unique personal style, is considered an important late Romantic composer. After the October Revolution of 1917, Rachmaninoff left Russia to begin a new life in the United States, was a significant turning point in Rachmaninoff's career of music composition. After that, he lived in the United States as a pianist, and devoted himself to transcriptions. Kreisler, creator of ¡§Liebesfreud,¡¨ was a violinist. Besides performance, he also created some of the sketches as the concert repertoire. He composed ¡§Liebesfreud¡¨ in the style of the Austrian Landler. Rachmaninoff and Kreisler met and became friendly in the United States, and later Rachmaninoff transcribed the piece to memorize their friendship. He not only reedited of original pieces and arrangements for piano with great skill in piano but also remarked the transcriptions his personal style to enrich it with artiness and skills. The study aims to explore Rachmaninoff¡¦s piano transcription ¡§Liebesfreud¡¨ to understand its adaptation practices. We finally discuss the innovation and meaning of the transcriptions by Rachmaninoff.

This short contribution shows the relevance of audiovisual sources for the history of 20th century music. It traces the role played by the violinist Fritz Kreisler (1875–1962) in shaping the widespread cliché of the “Viennese sound” via an examination of audiovisual sources. The sources stored in different online archives or social media portals play a key role, but the traceability of a given agent is not guaranteed. For this reason, controlled vocabularies and a digital tool which enable the addition of new metadata to already existing sources should be developed in the near future. This would enable researchers to trace agents, such as institutions and artists, and to connect them with places, repertoires and cultural topoi.

The inner ear, the sensory organ responsible for hearing and balance, contains specialized sensory and non-sensory epithelia arranged in a highly complex threedimensional structure. To achieve this complexity, a tight coordination between morphogenesis and cell fate specification is essential during otic development. Tisúes surrounding the otic primordium, and more particularly the adjacent segmented hindbrain, have been implicated in specifying structures along the anteroposterior and dorsoventral axes of the inner ear. In this work we have first characterized the generation and axial specification of the otic neurogenic domain, and second, we have investigated the effects of the mutation of kreisler/MafB -a gene transiently expressed in the rhombomeres 5 and 6 of the developing hindbrain- in early otic patterning and cell specification. We show that kr/kr embryos display an expansion of the otic neurogenic domain, due to defects in otic patterning. Although many reports have pointed to the role of FGF3 in otic regionalization, we provide evidence that FGF3 is not sufficient to govern this process. Neither Krox20 nor Fgf3 null mutant embryos, in which Fgf3 is either downregulated or absent in r5 and r6, present ectopic otic neuroblasts in the otic primordium. However, Fgf3-/-Fgf10-/- double mutants show a phenotype very similar to kr/kr embryos: they present ectopic neuroblasts along the AP and DV otic axes. Finally, and remarkably, partial rescue of the kr/kr phenotype is obtained when Fgf3 or Fgf10 are ectopically expressed in the hindbrain of kr/kr embryos. These results highlight a compensatory mechanism between FGFs, and the importance of hindbrain-derived signals in instructing otic patterning and the establishment of the neurogenic domain.