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Walt Whitman's poetry continues to inspire composers of choral music, and the growing collection of musical settings necessitates development of a standard evaluative tool. Critical evaluation of the musical settings of Whitman's work is difficult because the extensive body of verse is complex and of uneven quality, and lack of common text among compositions makes comparison problematical. The diversity of musical styles involved further complicates the issue. Previous studies have focused on either ideology or style, but none have united the two critical approaches, thus restricting potential for deeper understanding of the music. This study proposes an approach to critical evaluation of Whitman settings that applies hermeneutics, or a blend of analysis and criticism, to the process. The hermeneutic approach includes an examination of the interrelationship between musical form and style and the composer's ideology, which is revealed through his/her treatment of Whitman's poetry and analyzed in light of cultural influences. Lowell Liebermann (b. 1961) has composed a large scale choral/orchestral setting of Whitman texts in his Symphony No. 2, opus 67 (1999). The selection, placement, and treatment of poetry in Symphony No. 2 provide a window into the composer's mind and his place in the current musical climate. Liebermann's setting reveals his interest in Whitman's search for spirituality and the human spirit's transcendence over time and space. His understanding of Whitman is filtered through a postmodern cynicism, which he seeks to remedy with his nostalgic neo-Romantic style. Chapter One provides an introduction to Whitman's life and examination of his poetry's themes, style, and reception. Chapter Two outlines issues relevant to criticism of Whitman settings and proposes an approach to critical analysis. Chapter Three applies the critical method to Liebermann's Second Symphony, drawing conclusions about its place in contemporary culture.

Lowell Liebermann, born in New York City in 1961, is one of America's most distinguished living composers. In addition, he often conducts and performs as pianist in his own works. His musical language is unique and unmistakably rooted in the grand tradition of Western music; however, his style combines old and new, simple and complex, emotional and intellectual aspects. It combines tuneful, catchy melodies with a rich harmonic language, all framed by a strong formal design. This study begins with presenting primary information on this concerto excerpted from an interview with Lowell Liebermann. This interview served as a reference for subsequent sections, and a transcript of the interview is appended to the end of this study. In the third chapter, the musical language of the composer is discussed. Chapters four and five constitute the main body of this dissertation. The goal of these two chapters is to understand the basic three-pitch motive of the work, to demonstrate how it operates at various levels, and to see how the raw material corresponds at a larger structure level. It is the author's hope that this study will guide performers to better understand Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12.

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

In dieser Untersuchung wird zum ersten Mal der Versuch unternommen, die private und künstlerische Biografie der Malerin Hedwig Ruetz zu rekonstruieren. Über fünfzig Jahre nach ihrem Tod haben mir die Erben ermöglicht, bisher unbekanntes und unveröffentlichtes Material aus Hedwig Ruetz’ Nachlass zu sichten und auszuwerten. Vorgefunden wurden über 200 Ölgemälde, an die 600 Papierarbeiten mit Aquarellen und Zeichnungen, vier Skizzenblöcke, Gästebücher, Fotoalben, Einlieferungslisten bei Galerien sowie Alben mit Zeitungsartikeln über ihre Ausstellungen. Der Nachlass Hedwig Ruetz ist die wichtigste Quelle und das Fundament, auf dem meine Forschung ruht. Er belegt, dass Hedwig Ruetz eine begabte, wandlungsfähige und lebenslang produktive Künstlerin war. Das Ziel dieser Arbeit ist die erstmalige monografische Erfassung und Einordnung des künstlerischen Werks und die Rekonstruktion des Lebensweges der Künstlerin sowie die kunsthistorische Analyse und Kontextualisierung ihres Schaffens. Gleichwohl ist sie als eine erste Bestandsaufnahme angelegt, die den Grundstein für weitere Forschung legen soll. / Die vorliegende Arbeit basiert auf dem Nachlass der Künstlerin Hedwig Ruetz, der mir zur Erforschung übergeben wurde. Hedwig Ruetz kam nach ihrer Ausbildung an der privaten Zeichenschule für Frauen von Elise von Jung-Stilling in Riga, der Malerinnenschule in Karlsruhe und Stationen in München und Paris um 1902 nach Berlin und galt als Schülerin von Max Liebermann. Sie reüssierte als junge Künstlerin im Umfeld der etablierten Avantgarde der Berliner Secession: Ihre Arbeiten wurde nachweislich zwischen 1902 und 1910 mindestens fünf Mal in den Kunstausstellungen der Berliner Secession gezeigt, sowie 1910 und 1911 in Kollektivausstellungen im Salon Paul Cassirer. Auch in ihrer Heimatstadt Riga war sie ab 1899 in drei aufeinanderfolgenden Jahren in drei Kollektivausstellungen zu sehen sowie in einer Einzelausstellung im Kunstverein 1914. Von besonderer Bedeutung für ihren Werdegang war das Schülerinnen-Lehrerverhältnis zwischen ihr und Max Liebermann, das Hedwig Ruetz zeitlebens betont hat und zahlreichen zeitgenössischen Ausstellungsbesprechungen auftaucht. In diesem Kontext kann auch ihr Porträt „Bildnis Fräulein Hedwig Ruetz“, das Max Liebermann 1903 von ihr gemalt hat, neu bewertet werden. In ihm zeigt sich, dass er ihr Talent erkannt, sie gefördert hat und als ihr Mentor angesehen werden kann: Zum einen ist das Bildnis das erste familienferne Frauenporträt in Öl von seiner Hand, zum anderen verfolgte er mit ihm eine Ausstellungspraxis, die sowohl für ihn als auch für Hedwig Ruetz dienlich war: Er zeigte es werbewirksam für beide Seiten innerhalb von zwei Jahren in fünf Ausstellungen und die Presseresonanz war überwiegend positiv. Damit war Hedwig Ruetz von Anbeginn ihrer Laufbahn keine Unbekannte in der Kunstwelt; sie war als jene junge Künstlerin bekannt, die von Max Liebermann geschätzt wurde. Dessen Porträt von ihr war ihre „Eintrittskarte“ in die Berliner Kunstwelt im Umfeld der Secession. / This paper is based on the estate of the artist Hedwig Ruetz, which was entrusted to me for research. After her education at Elise von Jung-Stilling's private drawing school for women in Riga, the Malerinnenschule in Karlsruhe and stations in Munich and Paris, Hedwig Ruetz came to Berlin around 1902 and was considered a student of Max Liebermann. In the years that followed, the young artist was successful in the cultural environment of the established avant-garde of the Berlin Secession: Her work was shown at least five times between 1902 and 1910 in the art exhibitions of the Berlin Secession, as well as in 1910 and 1911 in collective exhibitions at the Salon Paul Cassirer. From 1899, she was in three consecutive years also on view in her hometown Riga in three collective exhibitions and in a solo exhibition at the Kunstverein in 1914. The student-teacher-relationship between her and Max Liebermann, which Hedwig Ruetz emphasized throughout her life and which was mentioned in numerous contemporary exhibition reviews, was of particular importance for her career. Her portrait "Portrait of Fräulein Hedwig Ruetz", painted by Max Liebermann in 1903, can also be re-evaluated in this context. It shows he recognized her talent, encouraged her and can be regarded as her mentor: First of all the portrait is the first oil portrait of a non-dependant woman, and further he pursued an exhibition practice with it which was useful for both–him and Hedwig Ruetz: he showed it in five exhibitions within two years, which was effective in advertising for both sides, and the press response was mostly positive. Therefore Hedwig Ruetz was no stranger to the art world from the beginning of her career; she was known as the young artist appreciated by Max Liebermann. Her portrait by his hand was her "ticket" to the Berlin art world surrounding the Berlin Secession.

In modern separation design, an important part of many phase-equilibrium calculations is the mathematical representation of pure-component and mixture enthalpies. Mixture enthalpy data are important not only for determination of heat loads, but also for the design of distillation units. Further, mixture enthalpy data, when available, are useful for extending vapor-liquid equilibria to higher (or lower) temperatures, through the use of the Gibbs-Helmholtz equation. In this connection excess molar enthalpies for several binary and ternary mixtures involving ethers and hydrocarbons have been measured at the temperature 298.15 K and atmospheric pressure, over the whole mole fraction range. Values of the excess molar enthalpies were measured by means of a modified flow microcalorimeter (LKB 10700-1) and the systems show endothermic behavior. The Redlich-Kister equation has been used to correlate experimental excess molar enthalpy data of binary mixtures. Smooth representations of the excess molar enthalpy values of ternary mixtures are accomplished by means of the Tsao-Smith equation with an added ternary contribution term and are used to construct excess enthalpy contours on Roozeboom diagrams. The values of the standard deviations indicate good agreement between experimental results and those calculated from the smoothing equations. The experimental excess enthalpy data are also correlated and predicted by means of solution theories (Flory theory and Liebermann-Fried model) for binary and ternary mixtures, respectively. These solution theories correlate the binary heats of mixing data with reasonable accuracy. The prediction of ternary excess molar enthalpy by means of the solution theories are also presented on Roozeboom diagrams. The predictions of ternary excess enthalpy data by means of these theories are reasonably reliable.

In modern separation design, an important part of many phase-equilibrium calculations is the mathematical representation of pure-component and mixture enthalpies. Mixture enthalpy data are important not only for determination of heat loads, but also for the design of distillation units. Further, mixture enthalpy data, when available, are useful for extending vapor-liquid equilibria to higher (or lower) temperatures, through the use of the Gibbs-Helmholtz equation. In this connection excess molar enthalpies for several binary and ternary mixtures involving ethers and hydrocarbons have been measured at the temperature 298.15 K and atmospheric pressure, over the whole mole fraction range. Values of the excess molar enthalpies were measured by means of a modified flow microcalorimeter (LKB 10700-1) and the systems show endothermic behavior. The Redlich-Kister equation has been used to correlate experimental excess molar enthalpy data of binary mixtures. Smooth representations of the excess molar enthalpy values of ternary mixtures are accomplished by means of the Tsao-Smith equation with an added ternary contribution term and are used to construct excess enthalpy contours on Roozeboom diagrams. The values of the standard deviations indicate good agreement between experimental results and those calculated from the smoothing equations. The experimental excess enthalpy data are also correlated and predicted by means of solution theories (Flory theory and Liebermann-Fried model) for binary and ternary mixtures, respectively. These solution theories correlate the binary heats of mixing data with reasonable accuracy. The prediction of ternary excess molar enthalpy by means of the solution theories are also presented on Roozeboom diagrams. The predictions of ternary excess enthalpy data by means of these theories are reasonably reliable.

Background and objectives: The commonly used afrosimetric foam-height method for quantifying saponins in quinoa is rapid but imprecise. A rapid UV/Vis method, utilizing the Liebermann-Burchard (LB) color reaction, was compared to the foam method across a range of saponin levels in washed and unwashed seed. Findings: A 6 min UV/Vis method provided greater precision and accuracy than the afrosimetric method at the lower saponin levels found in washed quinoa. The afrosimetric method did not differentiate saponin levels below 0.6 mg/mL but allows for useful relative comparisons of saponin content in unwashed quinoa where the foam height is large. Conclusions: The UV/Vis method is superior for analyzing saponins present on washed quinoa seed, while the foam method is adequate for saponin measurements in unwashed seed. Significance and novelty: The UV/Vis assay provides a new tool that can be used for in-process quality control in large-scale processing facilities, allowing for rapid, accurate determination of completion of the desaponization step.

The first chapter introduces the purpose and significance of this study for the piano teacher who wants to teach twentieth-century piano music effectively at the elementary or intermediate level, combining it and comparing it with nineteenth-century piano music. The second chapter presents an overview of both Schumann and Liebermann's Album for the Young. In the third chapter, the two collections are analyzed pedagogically and compared in detail. The study should provide piano teachers with an understanding of the musical concepts of each piece and how to effectively teach students about twentieth-century music by pairing them.