Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.

A revision of the author's Thesis (doctoral--Marburg, 1976). / Includes bibliographical references (p. 518-535).

This study makes available in English translations the three most important theoretical writings of the Austrian composer Josef Matthias Hauer (1883—1959), whose experiments with atonal and dodecaphonic music are discussed in the treatises. The treatises are Vom Wesen des Musikalischen: Grundlagen der Zwolftonmusik, Vom Melos zur Pauke: eine Einfuhrung in die Zw51ftonmusik, and Zwftlftontechnik: die Lehre von den Tropen. In addition to the translations and commentary the dissertation includes a sketch of Hauer's career and an examination of his claim that he—not Arnold Schoenberg—was the inventor of the dodecaphonic school of composition.

While little is known concerning the events surrounding the commission of the Isenheim Altarpiece or of the artist known to us as Master Matthias Grünewald, much can be ascertained about the message of the Altarpiece through careful study of the socio-historical-religious context from which the work was commissioned and iconographic analysis of the images portrayed by Master Matthias. This thesis explores iconographic metaphors for birth and sacrifice, metaphors which work to create a theological dialogue about Christian redemption within the nine painted panels and the underlying sculpture that makes up the Isenheim Altarpiece. First, we will address the panels in the middle position of the Isenheim Altarpiece, which reveals events from the life of Mary. Since the Madonna is a prominent figure in the Altarpiece panels, understanding her role in sixteenth century Christian theology as birth mother of the Savior and as an especial example of bringing forth good fruit by virtue of obedience and humility is crucial to understanding the Marian iconography of the panels. In the center of the triptych, immediately following the Annunciation panel in the middle position, we see a celebration of Christ's birth in the Concert of Angels panel. When replaced by the folded wings depicting the Crucifixion, the Concert of Angels panel creates a discussion of rebirth through the sacrifice and death of the Savior which is symbolized by the Resurrection displayed in the final panel of the middle position. Through the use of iconographic devices which reference different panels within the Altarpiece, Grünewald creates a dialogue of redemption and rebirth through Jesus' mortal birth mother, the Virgin Mary. This dialogue extends to images of saints and disciples who find spiritual rebirth through conversation and help to build the kingdom of God on earth through their exemplary lives. Even the faithful followers of Christ numbered in the audience of the Isenheim Altarpiece are given a role in the dialogue of rebirth through conversion by bearing virtue, rather than vice, in the attitude of Mary and the saints.

Sammlung Matthias Drude (1960): Bestandsverzeichnis Zusammengestellt von Miriam Roner, Mai 2019

The Bakócz Chapel at St. Adalbert's Cathedral in Esztergom represents the vision of the powerful politician and patron of the arts, Tamás Bakócz. Built between 1506 and 1519, the chapel was unique in Hungary at the time for its strict adherence to Italian Renaissance forms. Although it was King Matthias Corvinus (1458-1490) who first brought all'antica architecture to Hungary, its influence was not widespread. New structures continued to be built with a mix of gothic and renaissance forms into the sixteenth century. Instead of reflecting contemporary Hungarian architecture, the Bakócz Chapel is a successor to late fifteenth-century Florentine chapels. Cardinal Tamás Bakócz was Archbishop of Esztergom, head of the royal chancellery, and controlled Hungarian foreign affairs in the early sixteenth century. The king, Vladislav II (1491-1516) was heavily influenced by his advisors, and Bakócz was his principal counselor. In 1506, when Bakócz began construction on the chapel, he was at the height of his power and aspired to become pope. As his rise from outside the aristocracy to his position as the right-hand of the King demonstrates, Bakócz was politically savvy and extremely ambitious. As he hired architects and craftsmen for his chapel, he had them create a monument that would be a lasting symbol of his wealth, power, and erudition. But Bakócz very specifically did this in a manner that was entirely unlike anything else in Hungary at the time. In the building that was designed to house his remains and be his memorial, Bakócz made the conscious decision to associate himself with Italy. / text

Doct. diss.--Rome--Gregorian university, 1937. / Bibliogr. p. 257-270. Index.

Thesis (Ph. D.)--Halle-Wittenberg, 1902. / Beilage: "Neun die kirchliche Frage betreffende Friedenspunkte, welche aus den im Frühjahr 1633 zwischen den beiden evangelischen Kurfürsten gepflogenen Verhandlungen hervorgingen": p. [52] Vita.

Thesis (Ph. D.)--North Texas State University, 1980. / Typescript. Includes the author's English translation of J.M. Hauer's Vom Wesen des Musikalischen ; Vom Melos zur Pauke ; and Zwölftontechnik. Includes bibliographical references (leaves 293-299).

Zugl.: Jena, Universiẗat, Diss., 2003.