1. Was ist Coaching? 2. Fachdidaktisches Coaching 3. Coaching im Projekt „Belcantare Brandenburg“ 4. Evaluation und Weiterentwicklung der Coachingprozesse 5. Literatur

1. Merkmale und Arbeitsfelder des Singens 2. Entwicklungsfelder der Projektteilnehmer 3. Schülerbewertungen gewähren erste Erkenntnisse zur Qualität der schulischen Singarbeit 4. Literatur 5. Internetquellen

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The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

The Australian zebra finch (Taeniopygia guttata) serves as an excellent model organism for studying the mechanisms that influence brain sexual differentiation. The brain and behavior of the zebra finch are sexually dimorphic. The regions of the brain that control the learning and production of song (song control nuclei) are significantly larger in the male brain than in the female brain and only males sing courtship songs, thus the majority of past research has focused on the development of these sex differences. In the majority of mammals, brain sexual differentiation occurs because hormones secreted from the gonads act to initiate male or female brain development. In zebra finches, estradiol is sufficient to masculinize the male brain, however manipulations of developmental hormone exposure fail to fully reverse the sex differences in song nuclei size. Furthermore, genetic females induced to develop functional testicular tissue do not develop a completely masculinized song system and castration has no effect on development of the song system in males. The source of the increased estrogenic signal in male zebra finch brain has yet to be identified, but data suggest that other neuronal factors play a role in development of the song control nuclei. Coregulators, such as coactivators and corepressors, are proteins and RNA activators that work by enhancing or depressing transcriptional activity of the nuclear steroid receptor with which they associate. Coregulators also modulate the development of sex-specific brain morphology and behavior in rodents and birds and may help to explain the difficulties observed in altering song nuclei development via castration and gonadal hormone replacement. As an estrogen receptor-α coactivator, ribosomal protein L7 (RPL7) is able to make the brain more sensitive to estradiol by enhancing the effects of steroid receptor action. Therefore, this dissertation addressed the following questions regarding RPL7: (1) is RPL7 expression sexually dimorphic in the song nuclei of the zebra finch brain?; (2) is RPL7 protein expression regulated by steroid hormones?; and (3) does decreasing RPL7 protein expression with antisense oligonucleotides alter neuronal survival in vivo and song nuclei size and neuron number in vitro? Collectively, these studies will provide valuable information about the role of steroid receptor coactivators in development of the zebra finch song system and on the role of coactivators on sexual differentiation of the brain.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

As an accepted genre of female composition, song lies in a unique position among musical genres. This allows it to stand largely outside the area of Claude Steele’s notion of “stereotype threat,” and being absent such weighty pressures, it could then furnish an arena in which female composers can do their best work. As a genre that combines the arts of music and poetry, song is based upon a given set of symbols that provide the composer with inspiration. The study of these symbols and their possible metaphorical meanings can offer a guide to that inspiration. By studying two settings by male composers and two settings of female composers, we can compare their individual and gendered approach to those symbols for elements of a masculine or feminine style. Heinrich Heine’s 23rd poem in Die Heimkehr, analyzed thoroughly in Chapter 2, is the focal text in this study. In Chapters 3 through 6 each of the settings is examined at length using both a standard formal analysis and the “Grundgestalt” concept of Schoenberg. The settings examined are “Ihr Bild” by Franz Schubert, “Ich stand in dunkeln Träumen” and “Ihr Bildniss” (two versions of the same work) by Clara Schumann, “Ich stand in dunkeln Träumen” by Hugo Wolf, and a setting of the same name by Ingeborg von Bronsart. Each discussion focuses on the individual reactions to the specific symbols identified in Chapter 2, as well as the global approach to some well-known literary aspects of paternalistic literary culture of the time. The thesis concludes with a summary of the similarities and differences in the preceding four examinations. Chapter 7 also draws conclusions based on those contrasts, which yields an evaluation of gendered reactions and the possibility of a feminine style in the nineteenth century.

Gustav Mahler (1860-1911), was one of the great composers of the late-Romantic era. He composed forty-five Lieder. These Lieder, as influences by Mahler¡¦s symphonic work, show a broader scope, in terms of the sound, the length and the tension, as compared to Lieder by previous composers. Impacted by Romanism and Nationalism, Mahler composed twenty-three Wunderhorn-Lieder, which based on Des Knaben Wunderhorn by German poets Achim von Arnim (1781¡V1831) and Clemens Brentano (1976¡V1842). The Wunderhorn anthology has more than seven hundreds poems, which is a significant piece of German literature work for folk songs. Four Wunderhorn-Lieder are discussed in this paper: ¡§Ich ging mit Lust durch einen grünen Wald,¡§Scheiden und Meiden¡¨, ¡§Wer hat die Liedlein erdacht¡H¡¨, and¡§ Wo die schönen Trompeten blasen¡¨. The main theme of these four Lieder is love, and each of them represents a different type of love experience. The study mainly contains four parts: the biographical information about Gustav Mahler, the Lieder of Gustav Mahler, a brief introduction of poets Arnim and Brentano, and a performance analysis of the four Wunderhorn-Lieder. Through analyzing these four Lieder, we can gain insight into how poetry was played up and extended by Mahler using music, and help the vocalists better express the spirit and the music syntax of Mahler when interpreting his Lieder.

A Shropshire Lad by English composer George Butterworth (1885-1916) is a song cycle composed by adopting six poems of the same title ¡§A Shropshire Lad¡¨ by Alfred Edward Housman (1859-1936). These poems depict the life of a pure young man, which passes through love, separation, and death by symbolical and sarcastic writing skill, and the composer composed the songs exquisitely, creating these six songs with different styles, and presenting his ingenious conception within the music and lyrics. The study has five major components: an introduction to the composer, George Butterworth; the art songs of George Butterworth; an introduction to the poet Alfred Edward Housman; the composing background of A Shropshire Lad, and the analysis as well as interpretation of six-songs of A Shropshire Lad. It is hoped that through this study, singers can have a better understanding of the hidden meaning of the poems and of how composers use music to express the wonders of poetry. They can then in turn interpret this song cycle in the most apposite mood and with the most appropriate way of singing.

Recently, the festival activities who hold in Taiwan not only promote the development of related industries, but also directly rise regional ecomomic productivity value. In past, the related study about the festival activities usually focused on North Taiwan. Generally speaking, the administrative and financial resource who were gotten by North Taiwan was better than South Taiwan. To understand the marketing strategies of festivals in South Taiwan, the study will focus on the festival activity in South Taiwan to Further speaking, the study will focus on the ¡§Neimen Song Jiang Battle Array in 2009¡¨. By this case study, we will discuss whether the government supports the activity by administrative recourse. On the other hand, we will explore the effect on marketing strategies whether impact on festival activity. In research method, we will take on the relative of difference population statistic variables and the scatification on customers. Second, we will take interview method to understand the practice situation by different groups. In our result, we find the marketing strategies of festivals almost lack the support of government sector and only depend on civil groups. The role of festival acaticities can satisfy the demand of consumers, and promote visitors who can experience the culture meanings and infrastructure. On the other hand, the visitors pay attention on the level of restaurant and hotel side, but unsatisfy on walking line and commodity sale side.