This study investigates the importance of Hummel as a transitional composer, pedagogue and pianist between the Classical and Romantic periods, his contribution to the development of piano technique, and his influence as a pedagogue on later generations. The bases of this study were his treatise A complete theoretical and practical course on the art of piano playing (Ausführliche theoretisch-practische Anweisung zum Pianoforte-Spiele) of 1828, his Préludes op. 67 of 1814/1815 and his 24 Grandes Études op. 125 of 1833. Hummel’s treatise is an important musicological document detailing keyboard performance practices of the 18th and early 19th century. He lived at a time when the present day piano was still evolving. The new instruments with their resulting new possibilities found expression in his 24 Grandes Études op. 125. Important sources consulted were the following:  The piano concertos of Johann Nepomuk Hummel by F.H. Mitchell (1957)  The music of J.N. Hummel: its derivations and development by R. Davis (1965)  Romantic Music: A history of musical style in the 19th century by L. Plantinga (1984)  The Kristeva Reader edited by Toril Moi (1986)  How did they play? How did they teach? by S. Soderlund (2006); and  Johann Nepomuk Hummel: a musician’s life and world by Mark Kroll (2007). Although Hummel was deeply rooted in the Classical style, his compositions displaying the hallmarks of the style galant, can be divided into two style periods. The first style period ending about 1811 shows harmonic simplicity, regularity of phrasing and elegant cantabile melody. His second period post-1811 saw the composition of works with bolder, more dissonant harmony resulting in greater chromaticism. After 1814 his piano compositions demand greater variety of tone colour, more expressive use of dynamics, rubato, and advanced technical facility of the performer. According to Mitchell (1957: 75, 76) Hummel’s art and ornamentation are related to the virtuoso technique expanded by the Viennese pianistic style of the early 19th century. Hummel developed the ornamental style further, culminating ultimately in the poetry of the tone-coloured fioritura of Chopin. One aim of the study was to reveal the individual contributions Hummel made to the changes taking place between the Classical and Romantic styles. Innovative aspects include new virtuoso technical demands that would find fruition in the études of Chopin an Liszt. His influence on Chopin was undeniable as one perceives the early distinguishing characteristics of Chopin’s style in many of the compositions of Hummel. Schumann and Liszt were familiar with the music of Hummel in their formative years and there is much evidence of Hummel’s style in their compositions. In Chapter 4 on intertextuality, Hummel’s influence on Chopin, Schumann and Liszt is examined, and in Chapter 5 his pedagogical principles as set out in his treatise are appraised. Chapter 6 is an investigation into the technical principles embodied in Hummel’s 24 Grandes Études op. 125 and their influence on the development of the Concert Étude. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted

The masterʼs thesis, divided into theoretical and empirical parts, deals with court interpreting for children and minors. After a short introduction to history, it describes the characteristic of court interpreting with the emphasis on children and minors involved in judicial proceedings. Following chapters focus on court interpreting in the Czech republic, expanding on its description, the related legal framework, required qualification and training of court interpreters. Subsequently, the thesis draws a comparison with training and education of other professionals taking part in proceedings with minors. Furthermore, the state of the art in the Czech republic is also compared to the situation in Belgium where the project CO-Minor-IN/ QUEST was launched and carried out. To our knowledge, it is the first international project on cooperation among major professionals involved in interpreted criminal proceedings with minor participants. The thesis presents a summary of findings concerning communication with children and minors, laying stress on particular patterns of behaviour and conduct that are likely to occur in little and school-age children. The information provided is considered in the context of court interpreting. The thesis puts emphasis on the most significant differences between court...

Slavic loanwords, which were widely used in the Lithuanian language in the 18th century, are the target of this study. Researchers have continually faced the problem to distinguish which of Slavic languages – Ruthenian (Belarusian), Polish, or Old Russian – have had the biggest influence on Lithuanian. This study focusses on the Slavic loanwords in the poem “Metai” by Kristijonas Donelaitis, the first work of fiction in Lithuanian language written in Lithuania Minor. The research is done through the analysis of K. Donelaitis' lexica in the poem: the Slavic loanwords are first selected, then classified according to the Slavic language to which they belong, and then put into a topical field (professions, musical instruments, holidays, household domain, etc.). It was difficult to determine through which Slavic language the loanwords came into the Lithuanian language. However, it was identified that Belarusian, in most of the cases, seems to have had the biggest influence in K. Donelaitis' lexicon. / <p>The defense took place via ZOOM.</p>

Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.

One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.

The late chromatic music of Chopin is often difficult to analyze, particularly with a system of Roman numerals. The study examines Schoenberg's Grundgestalt concept as a strategy for explaining Chopin's chromatic musical style. Two short Chopin works, Nocturne in E-flat major. Op. 9, No. 2, and Etude in E major, Op. 10, No. 3, serve as models in which the analytic method is formulated. Root analysis, in the manner of eighteenth-century theorist Simon Sechter, is utilized to facilitate harmonic analysis of chromatic passages. Based upon the analytic method developed, the study analyzes the last three polonaises of Chopin: Polonaise in F-sharp minor, Op. 44, Polonaise in A-flat major, Op. 53, and Polonaise-Fantasie in A-flat major, Op. 61. The Grundgestalt-based analysis shows harmonic, melodic and rhythmic connections in order to view Chopin's chromaticism and formal structure from a new perspective. With this approach, the chromaticism is viewed as essential to the larger form.

This study examines the finale of Beethoven's choral symphony and focuses on its inspirations and aims to invoke critical theories involving genre, namely genre's "horizon of expectation", and lead to an enriched perspective that points toward a number of compelling aspects of the Choral Finale overlooked by previous commentators.

Society is becoming increasingly dependent on the development of institutions generatingsustainability. In order to speed up this development there is a need to find, evaluate andgeneralize existing institutional mechanisms holding this characteristic. In this study, the current theoretical framework is expanded to describe how an institution shouldbe designed to generate sustainability. To explain this, a distinction is made between short-termefficient markets (currently known as Pareto-efficient markets) and long-term efficient markets(currently known as ‘strong’ or ecologic sustainability). Further, a sustainable development isdefined as a combination of short-term and long-term Pareto-efficiency. This implies that aconsumption decision today cannot make an individual better off, without making anothercurrent or future individual worse off. Green building certifications are an interesting candidate to empirically test the theoreticalframework. An empirical study was made in cooperation with Confederation of Indian Industry -Indian Green Building Council, consisting of 18 qualitative interviews with companies andexperts in the Indian building industry. The main purpose of the study has been to investigatewhy actors engage in green building and green building certifications, or why they do not. Theresults have then been analyzed and put in an institutional context. Building on these results, conclusions have been drawn that bring a valuable perspective to theongoing debate on sustainability. Green building certifications have several interestingcharacteristics contributing to a sustainable development. Most importantly, results areindicating that short-term economic efficiency can lead to long-term mechanisms generatingsustainability. However, there are also limitations to the growth of certifications as an institution,e.g. cultural aspects, risk of ambiguity and insufficient levels of human capital. / Utvecklingen av institutioner som genererar hållbarhet blir allt viktigare. För att påskynda dennautveckling finns det ett behov av att hitta, utvärdera och generalisera befintliga institutionellamekanismer som uppfyller denna egenskap. För att kunna beskriva hur en institution bör utformas för att generera hållbarhet, utökar dennastudie det aktuella teoretiska ramverket. En distinktion görs mellan kortsiktigt Pareto-effektivamarknader (detta är att likställas med nuvarande begreppet ’Pareto-effektiva marknader’) ochlångsiktigt Pareto-effektiva marknader (detta är att likställas med ’ekologisk hållbarhet’). Vidareär hållbar utveckling definierad som en kombination av kortsiktigt- och långsiktigt effektivamarknader. Detta innebär att ett konsumptionsbeslut idag inte kan öka välfärden för en individ,utan att minska välfärden för en annan nuvarande eller framtida individ. Certifieringar för hållbart byggande är en intressant kandidat för att empiriskt testa det teoretiskaramverket. Fallstudien gjordes i samarbete med Confederation of Indian Industry - Indian GreenBuilding Council, och består av 18 kvalitativa intervjuer med företag och experter inom denindiska byggindustrin. Det huvudsakliga syftet med studien har varit att undersöka varför aktörerengagerar sig i grönt byggande och certifieringar, eller varför de väljer att inte göra det.Resultaten har sedan analyserats och satts i ett institutionellt sammanhang. Som institution har certifieringarna flera intressanta egenskaper som bidrar till en hållbarutveckling. Slutsatserna i studien skänker ett värdefullt perspektiv till den pågåendehållbarhetsdiskussionen, framförallt genom att påvisa att kortsiktig ekonomisk effektivitet kanleda till mekanismer som skapar hållbar utveckling. Det finns också begränsningar i tillväxten avdenna typ av institution som kan härledas till t.ex. kulturella skillnader, antalet certifieringar påmarknaden samt tillgång till humankapital.

In 1895, Emil Georg Conrad Sauer (1862-1942), a world-renowned German pianist and former student of Franz Liszt wrote his first piano concerto, which was published five years later in 1900. Sauer performed it extensively to enthusiastic crowds in Europe and the United States while on tour during the next several years. Then it vanished from the concert repertoire. It is no longer performed and has only been commercially recorded once. The purpose of this dissertation is to establish why it might have disappeared, and why there is value in bringing it back to the standard piano repertoire.