Texte remanié de: Diss.--Fach systematische Theologie, Evangelisch theologische Fakultät--Münster--Westfälische Wilhelms-Universität, 1995. / Bibliogr. p. 170-177. Index.

Proefschrift--Utrecht--Universiteit, 1998. / Bibliogr. p. 225-232. Index. Résumé en anglais.

Proefschrift--Leiden--Rijksuniversiteit, 1997. / Bibliogr. p. 789-837. Index. Résumé en anglais.

Zugl.: Diss. evang.-theo. Fak. Bern, 1963. / Diss. Univ. Bern, 1963.

Orientador: Lucy Seki / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-14T02:10:05Z (GMT). No. of bitstreams: 1 Araujo_BeneditaAparecidaChavedar_M.pdf: 2154803 bytes, checksum: efb5783422108ed1b0b02ab4c5cd2c52 (MD5) Previous issue date: 1992 / Resumo: O presente trabalho é,um estudo de cunho filológico, elaborado a partir dos dados contidos na obra Worterbuch der Bot.okudensprache do farmacêutico alemão Bruno Rudolph, publicada em 1909. Trata-se do mais extenso material. Registrando a língua de um subgrupo Botocudo - os Naknanuk - habitantes das matas próximas ao distrito do Mucuri. MG. Este trabalho analisa a grafia do autor e, a partir dela. extrai informações a respeito da estrutura fonética e faz algumas breves considerações fonológicas. Servem de controle dos dados outras listas de palavras do subgrupo Naknanuk, bem como a língua falada pelos Krenak/Nakrehé, atuais representantes da família linguística Botocudo tronco Macro-Jê / Abstract: Not informed. / Mestrado / Mestre em Linguística

Thesis (Ph. D.)--University of Zürich, 1927. / Includes bibliographical references (p. vii-x).

Thesis (Ph. D.)--University of Wisconsin, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Since the early fifties “open form” has become a generic description for many different compositional concepts having in common musical outcomes which to a certain degree are indeterminate. The introduction looks into different meanings given to “form” in music and gives a historical survey of the origins of compositional indeterminacy. Next, the concept of “open form” is elaborated into a territory which is usually not associated with it: jazz. The introduction is followed by five case studies. Folio (1952-54) by Earle Brown is considered to contain the first intentionally “open form” works. It is driven by improvisational ideas, either at the compositional stage or at the interpretative stage. Brown's affinity with jazz also offers connections to other topics of the thesis. Miles Davis' Ife (1972) may at first seem like an odd inclusion in this study, but it is not. Its only oddity could be that of all the works discussed it has no score. But it is a composition; it is recognizable throughout its various incarnations and repeatable, and its outcome is indeterminate. Adam Rudolph did not conceive Ostinatos of Circularity as an “open form” work, but it is an indeterminate composition: it does have a score the musical result of which depends on the decisions made by the composer/conductor during the performance as well as the choices made by the performers. In Peter Zummo's Experimenting with Household Chemicals the performers play the same, often ambiguous, score, moving in the same direction at their own speed and discretion. The lack of synchronicity and the ambiguous notation result in a very elastic organic form. Anne La Berge refers to her recent works as “guided improvisations”. The scores mainly consist of suggestive text materials, software preset descriptions and rudimentary verbal indications, leaving major decisions to the performers. The last chapter is about my own work. It presents seven works (the scores of which can be found in the accompanying portfolio), composed between 2007 and 2011. Each of these works uses the score as a “field” through which the performers roam.

No description available.

Jeanne Zaidel-Rudolph (1948-) is South Africa's most prominent female art music composer. Her compositional output includes most of the music genres. An expert pianist herself, the instrument has remained central to her educational and creative career. The purpose of this thesis is to elucidate the musical structure of three of Zaidel-Rudolph's piano compositions. They are the Sonata no.l (1969), the Three Dimensions (1974) and the Virtuoso I (1987). The research investigates a possible synthesis of technical and aesthetic elements. Comprehension of the music's architecture allows the performer to convey its true character. The thesis is presented in nine chapters. The first two constitute the motivation for the research as well as the composer's biography. The following three chapters form the greater part of the thesis, comprising in-depth analyses of the three works respectively. The research method moves from the broader to the finer musical details to ascertain the formal organisational shaping of Zaidel-Rudolph's compositional language. The three-movement Sonata no.l shows the neoclassical approach of Igor Stravinsky (1882-1971) in its well-proportioned and balanced sectional moulding. Motivic and rhythmic transformations as well as contrapuntal treatments suggest Bela Bartok's (1881-1945) influence. Tonal centres are implied, never fully expressed. The Three Dimensions bears witness to Gyorgy Ligeti's (1923-) inspiration. The avant-garde style experiments with novel sonic effects e.g. the plucking of the piano's strings. Indigenous African rhythms are juxtaposed with Eastern scalar sonorities. Vertical structuring constitutes the superimposition of dissonant intervals. Horizontal structuring features the repeated use of specific intervals to lend motivic unity. The Virtuoso I also represents an eclectic approach. Western, African and spiritual elements are integrated into a mature style. A traditional Hebrew melody provides the germinal motives for thematic construction. Instances of bitonality and triadic harmony are present; the tonal system however remains free. Perpetual rhythm predominates with ostinato figurations and jazzy accentuation. The following three chapters comprise re-edited versions of the complete manuscripts of the three respective compositions. Printing errors are brought to the attention; extensive suggestions regarding performance practice are added. The thesis concludes with a chapter listing all Zaidel-Rudolph's compositions, a bibliography and a discography. / Thesis (D Mus (Performing Art))--University of Pretoria, 2006. / Music / unrestricted