Zugl.: Göttingen, Univ., Diss., 2006

Thesis (Ph. D.)--University of Wisconsin--Madison, 1960. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 325-339).

Diss. : Philosophische Fakultät : Köln : 1981. - Bibliogr. p. 453-467. -

Improvisation är ett ämne som teoretiserats och dissikerats inom jazzpedagogiken. Undervisningen utgår ofta från att lära sig rätt skalor och arpeggion över rätt ackord medan forskare och framstående jazzmusiker framhäver plankning och transkription som viktigt för att lära sig improvisera. Syftet med detta arbete var att undersöka hur plankning och transkription kan utveckla improvisationsförmågor. Metoden för detta arbete var att spela in mig själv när jag improviserar, planka fyra jazzsolon och sedan spela in mig själv igen för att analysera eventuella skillnader i mitt spel utifrån det jag plankat. Studien tyder på att plankning och transkription utvecklar improvisationsförmågor avseende fundamentala stildrag inom jazz såsom timing och frasering. I detta arbete har jag kommit fram till att plankning och transkribering är effektiva medel för att utveckla ett jazzspråk, men de bör kombineras med vedertagna metoder såsom Chord Scale Approach (CSA).

In a famous paper of 1931, Gödel proved that any formalization of elementary Arithmetic is incomplete, in the sense that it contains statements which are neither provable nor disprovable. Some two years before this, Presburger proved that a mutilated system of Arithmetic, employing only addition but not multiplication, is complete. This essay is partly an exposition of a system such as Presburger's, and partly an attempt to gain insight into the source of the incompleteness of Arithmetic, by linking Presburger's result with Gödel's.

abstract: This study focuses on three songs from stage works of Kurt Weill (1900-1950): “September Song” from Knickerbocker Holiday (1938), “Speak Low” from One Touch of Venus (1943), and “Lost in the Stars” from Lost in the Stars (1949). All from Weill’s time in the United States, these songs are adaptable as solos and have become American standards performed in various arrangements and styles of popular music by many different artists. The first part of this study is a biographical sketch of Weill’s life and music. It is intended to provide context for the three songs by tracing his beginnings as a German composer of stage works with volatile political messages, to his flight to the United States and his emergence as a composer of Broadway successes. The second part is a commentary on the composition of the three selected songs. The lyrics and musical content are examined to show how Weill’s settings convey the dramatic mood and meaning as well as the specific nuances of the words. Description of the context of these songs explains how they were textually and musically intended to advance the plot and the emotional arc of the dramatic characters. The popularity of these songs endures beyond their original shows, and so there is discussion of how other artists have adapted and performed them, and available recordings are cited. Weill’s songs, his little masterpieces, have proven to be truly evocative and so attractive to American audiences that they have undergone myriad adaptations. This study seeks to provide the personal and historical background of Kurt Weill’s music and to demonstrate why these three songs in particular have proven to have such lasting appeal. / Dissertation/Thesis / Doctoral Dissertation Performance 2016

Professor Kurt W. Rothschild died on November 15, 2010 at the age of 96. Austria has lost with him one of its most thoughtful and original economic thinkers of the past century. Commemorating the 1st anniversary of his death the Oesterreichische Nationalbank jointly with the University of Economics, Vienna, the University of Linz and the Austrian Institute of Economic Research organises this conference in honour of Kurt W. Rothschild and his contribution to economics.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-01-26T20:29:40Z No. of bitstreams: 1 AlvaroLuisDosSantosGomesRibeiro_DISSERT.pdf: 1573630 bytes, checksum: 4a9edc023da1fdf9dc94f1380e6002aa (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-01-29T21:13:23Z (GMT) No. of bitstreams: 1 AlvaroLuisDosSantosGomesRibeiro_DISSERT.pdf: 1573630 bytes, checksum: 4a9edc023da1fdf9dc94f1380e6002aa (MD5) / Made available in DSpace on 2016-01-29T21:13:23Z (GMT). No. of bitstreams: 1 AlvaroLuisDosSantosGomesRibeiro_DISSERT.pdf: 1573630 bytes, checksum: 4a9edc023da1fdf9dc94f1380e6002aa (MD5) Previous issue date: 2014-12-19 / Jaques Lacan, o pensador que prop?e um retorno ?s bases fundamentais da psican?lise em Freud, estipula que a matem?tica lhe seria cara como meio de transmiss?o privilegiado do saber junto ? ci?ncia. Ainda que siga como fundamento da ci?ncia moderna a matematiza??o da natureza, para ele esse princ?pio n?o implica em eliminar o sujeito que a produz. Isso seria equivalente a dizer que n?o pode haver uma linguagem, qualquer que seja, mesmo a matem?tica, que possa ?apagar? o sujeito pressuposto na ci?ncia. Junto ao texto A Ci?ncia e a verdade tentaremos introduzir a ideia, n?o t?o simples, por sinal, da verdade como causa. Mencionando o quadro das causas em Arist?teles, Lacan falar? de uma homologia entre a verdade como causa formal, no caso da ci?ncia, e a verdade como causa material, no lado da psican?lise. Dentre seus intentos com esse texto, ele quer estabelecer que o sujeito do inconsciente n?o seria outro sen?o o sujeito da ci?ncia. Os famosos teoremas de incompletude do l?gico-matem?tico Kurt G?del entrariam aqui como um cap?tulo dessa quest?o. Reconhecidos como verdadeiros divisores de ?guas, esses teoremas nunca tardam em ser citados como reveladores mesmo fora do ambiente matem?tico, e o pr?prio Lacan n?o se limita ? indiferen?a. Ele faz men??o ao nome de G?del e extrai de algumas observa??es aparentemente modestas um apoio para sua pr?pria teoria. Sendo que algum rebuscamento aguarda o leitor que se prop?e compreender essa suposta corrobora??o que G?del presta a psican?lise, introduzir o estudioso de Lacan no uso que ele faz dos teoremas de incompletude ? o objetivo do presente trabalho. Em A ci?ncia e a verdade, onde nos cabe localizar o nome de G?del, deve-se questionar como apreender uma tal ideia sem incorrer na extrapola??o e no abuso do saber matem?tico, quase corriqueiros nesse caso. Assim, esse trabalho pretende apresentar ao leitor o racioc?nio subjacente aos teoremas de G?del, familiariz?-lo quanto ?s pretens?es matem?ticas de Lacan, e indicar como se procede o uso dessa matem?tica impl?cita no texto A ci?ncia e a verdade. / Jaques Lacan, the thinker who proposes a return to the fundamentals of psychoanalysis in Freud states that the math would face as a privileged way of transmission of knowledge by the science. Although he was a follower of the mathematization of nature as the foundation of modern science, for him this principle does not imply eliminating the subject that produces it. That would be equivalent to saying that there can not be a language, whatever, even the math, that may "erases" the subject assumption in science. In the text The science and the truth we will try to introduce the idea, not so simple, by the way, the truth as the cause. Citing the framework of the causes in Aristotle, Lacan will speak of a homology between the truth as formal cause, in the case of science, and the truth as material cause, on the side of psychoanalysis. Among its aims with this text, he wants to establish that the unconscious of the subject would be none other than the subject of science. The famous incompleteness theorems of logical-mathematical Kurt G?del enter here as a chapter of this issue. Recognized as true watershed, these theorems have to be remembered as revealing even outside the mathematical environment, and Lacan himself is not indifferent to this. He makes mention of G?del's name and draws some observations apparently modest support for his own theory. Since some technical sophisticated knowledges awaits the reader who intends understand this supposed corroboration that G?del provides to psychoanalysis, introduce the student of Lacan in the use he makes of the incompleteness theorems is the objective of this work. In The science and the truth, which fits us to locate the name of G?del, one must question how seize such an idea without incurring the extrapolation and abuse of mathematical knowledge, almost trivial in this case. Thus, this paper aims to introduce the reader to the reasoning behind the theorems of G?del, acquaint him about the Lacan?s mathematical claims, and indicate how to proceed using this implicit math in the text The science and the truth.

The dissertation researches the contemporary jazz vocalist Kurt Elling. His background, performing career and successes are explored before his artistry as a performer and pedagogue are examined in detail. A personal Skype lesson and a personal interview form part of the research material. Elling’s improvisatory art and his relationship with and opinions on scatting, and especially jazz vocalese are portrayed. To this end the author’s transcription of Elling’s vocalese based on Downtown (by Russel Ferrante) is included. Elling’s influence, creativity, spirituality and infusion of poetry into jazz are also investigated in order to show how he inspires audiences and students alike. The history of, and general descriptions of various jazz vocal styles are traced, whereafter the situation regarding the jazz vocal scene in South Africa is outlined. Local jazz vocal teaching in particular, and associated problems are discussed, and recommendations made. The author utilises her background as an accomplished performer and teacher to infuse these discussions with personal insights. Elling’s opinions on how cultural and ethnic differences can inspire South African jazz vocalists are also delineated. / Dissertation (MMus)--University of Pretoria, 2014. / lmchunu2014 / Music / unrestricted

Kurt Vonnegut Jr.’s literary style transforms from his first novel, "Player’s Piano" (1952), to his final book, "Timequake" (1997). Most of his novels adhere to a similar style – the narrators face a puzzling societal fault that is exaggerated in their dystopian societies, which hides Vonnegut’s humanistic leanings. This thesis, however, focuses on Vonnegut’s authorial identity, his use of the alter ego, and eventual entrance into the novel. His authorial role challenges the literary theory expressed in “The Death of the Author”(1967) by Roland Barthes and further discussed in “What is an Author”(1969) by Michel Foucault. Barthes explains an author metaphorically dies after his book is published and Foucault questions the author’s role and importance to his novel. Vonnegut juxtaposes fictional and nonfictional material whereby his character is paramount to his work. Therefore, Vonnegut challenges Barthes and Foucault’s notion that an author restricts his work; rather, Vonnegut’s identity empowers his novels.