Thesis (M.A.)--University of Rochester, Eastman School of Music, 1976. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 217-222).

W. A. Mozart¡¥s compositions for clarinet played a significant role in the music history. Many scholars took their attention to Concerto in A major for Clarinet and Orchestra. However, the importance of Clarinet Quintet for Clarinet and String Quartet is unneglectable. According to the literature, the development of clarinet in the musical history is no earlier than the seventeenth century. Clarinet had a variety of sizes and tonalities in the beginning of development. Mozart composed lots of brilliant compositions for the combination with the clarinet in A. A. Stadler, a clarinetist, had excellent skill in playing clarinet. He cooperated with T. Lotz, an instrumental maker, extended the compass of basset clarinet lower to C. Inspired by Stadler and the invented instrument, Mozart wrote Clarinet Quintet, K. V. 581 and Clarinet Concerto, K. V. 622 for the basset clarinet. Mozart¡¦s Clarinet Quintet, K. V. 581 is undeniably important to the history of chamber music. Clarinet Quintet, K. V. 581 is composed in four movements. Harmony, form, texture, idiom and expression in every movement were discussed in Chapter3. The setting of clarinet and string quartet was also an innovation for the chamber music in his time. This setting of Clarinet Quintet became one of the standard settings which several composers tried to compose music for. Among the works, J. Brahms¡¦ Clarinet Quintet, op. 115 and M. Reger¡¦s Clarinet Quintet, op. 146 have gained the same respect as Mozart¡¦s Clarinet Quintet, K. V. 581. These works have several similarities. For example, they were all created in one or two years before the composers¡¦ death, and the inspiration for creating the music all came from the cooperation with the outstanding performers ¡Ketc. To sum up, Mozart¡¦s Clarinet Quintet, K. V. 581 is important and influential to the history of chamber music.

Siegen, Universiẗat, Diss., 2000.

This thesis demonstrates how two literary works ? Arnold Stadler's <em>Ein hinreissender Schrotth??ndler</em> (1999) and Andreas Maier's <em>Klausen</em> (2002) ? can be read as part of the globalization discourse. As a theoretical basis for the textual analysis the thesis first develops an understanding of the concept of globalization which forms a background against which the two literary works can be read. By embedding literature into the sociological theories of globalization it is possible to examine to what extent the two novels reflect and/or generate particular aspects of globalization. <br /><br /> Both texts are set largely in provincial towns, and the regions themselves play commanding roles in the stories being told. This focus on the provincial takes on an ironic appearance in the era of globalization where one would assume that localities have lost meaning. It is therefore useful to look at theories that broach the issue of the tense relation between globality and locality. Since no universally accepted definition of globalization exists, it is necessary to establish the crucial aspects of the phenomenon to be applied in the analysis of the novels by examining the work of various theorists on the topic. <br /><br /> The prominent model of 'glocalization,' originated by the sociologist Roland Robertson to refer to 'global localization,' offers useful categories for the analysis of the provincial in the era of globalization. In this model the simultaneity of global and local processes is assumed and with it the alleged antagonism of the 'global' and the 'local' is overcome. Claiming those dynamics Robertson's model can serve as a confirmation of the arguments put forward in this thesis which looks at literature about the 'local' through the prism of globalization. Other theories relating to explicit local dynamics are presented to round out the model of 'glocalization. ' In addition, the thesis takes into account normative ideas regarding the province in the global era. <br /><br /> The textual analysis that follows the delineation of the model of 'glocalization' demonstrates how the novels illustrate the global and local processes postulated by the model. The investigation also explains how the literary texts themselves evaluate the provinces portrayed. The results of the examination show that selected aspects of the globalization discourse have found their way into two contemporary German-language novels and therefore into German literary discourse. Even though the two novels deal with different ideas from the discourse, and even reject to a certain extent some of these concepts, they each reveal a particular literary manner of echoing the processes of globalization. Finally, the thesis demonstrates that the globalization discourse is of use for the interpretation of literary texts.

This thesis demonstrates how two literary works ? Arnold Stadler's <em>Ein hinreissender Schrotthändler</em> (1999) and Andreas Maier's <em>Klausen</em> (2002) ? can be read as part of the globalization discourse. As a theoretical basis for the textual analysis the thesis first develops an understanding of the concept of globalization which forms a background against which the two literary works can be read. By embedding literature into the sociological theories of globalization it is possible to examine to what extent the two novels reflect and/or generate particular aspects of globalization. <br /><br /> Both texts are set largely in provincial towns, and the regions themselves play commanding roles in the stories being told. This focus on the provincial takes on an ironic appearance in the era of globalization where one would assume that localities have lost meaning. It is therefore useful to look at theories that broach the issue of the tense relation between globality and locality. Since no universally accepted definition of globalization exists, it is necessary to establish the crucial aspects of the phenomenon to be applied in the analysis of the novels by examining the work of various theorists on the topic. <br /><br /> The prominent model of 'glocalization,' originated by the sociologist Roland Robertson to refer to 'global localization,' offers useful categories for the analysis of the provincial in the era of globalization. In this model the simultaneity of global and local processes is assumed and with it the alleged antagonism of the 'global' and the 'local' is overcome. Claiming those dynamics Robertson's model can serve as a confirmation of the arguments put forward in this thesis which looks at literature about the 'local' through the prism of globalization. Other theories relating to explicit local dynamics are presented to round out the model of 'glocalization. ' In addition, the thesis takes into account normative ideas regarding the province in the global era. <br /><br /> The textual analysis that follows the delineation of the model of 'glocalization' demonstrates how the novels illustrate the global and local processes postulated by the model. The investigation also explains how the literary texts themselves evaluate the provinces portrayed. The results of the examination show that selected aspects of the globalization discourse have found their way into two contemporary German-language novels and therefore into German literary discourse. Even though the two novels deal with different ideas from the discourse, and even reject to a certain extent some of these concepts, they each reveal a particular literary manner of echoing the processes of globalization. Finally, the thesis demonstrates that the globalization discourse is of use for the interpretation of literary texts.

Wolfgang Amadeus Mozart (1756-1791) skrev sin konsert för bassettklarinett och orkester för Anton Stadler (1753-1812) som var med och utvecklade själva instrumentet. Efter Stadlers död och förlusten av Mozarts originalmanuskript blev konserten omskriven för att spelas på A-klarinett då bassettklarinetten föll ur mode. Efter många år fick den sin återkomst och nu är det alltmer vanligt att konserten spelas på instrumentet den är skriven för. Syftet med detta arbete var att framföra Mozarts konsert i A-dur med orkester på bassettklarinett. Jag ville se hur jag skulle förbereda mig på bästa sätt för att nå ett önskvärt resultat, samt se ifall framförandet skulle hjälpa mig i mitt spel på vanlig klarinett. Då konserten för oss klarinettister främst är kopplad till provspelningar ville jag mig röra bort från den känslan genom att spela på det tänkta instrumentet samt med orkester i stället för versionen med piano. Jag valde även att genomföra projektet utan dirigent, vilket har gjort att jag bland annat har varit tvungen att forska mer djupgående i vad orkestern spelar. Jag har läst om konserten, kompositören, musikern samt instrumentet och även gjort en analys av verket. / <p>Claude Debussy - Première Rhapsodie, L. 116</p><p>Wolfgang Amadeus Mozart - Clarinet Concerto in A Major, K. 622</p><p>Piano</p><p>Erik Lanninger</p><p>Orkester     </p><p>Konsertmästare Vidar Karlsvärd</p><p>Violin Felicia Billerhag, Maria Ikonen, Kevin Huang, Simon Hojman, Klara Leoson</p><p>Viola Ludvig Dahlström, Tuomas Oravuo</p><p>Cello Agnes Wall Ströberg, Simon Sundström</p><p>Kontrabas Ásthildur Helga Jónsdóttir</p><p>Flöjt Elisa Onegård, Paulina Fälth</p><p>Fagott Fritz Fembro, Daniel Kraft</p><p>Horn Olof Rolandsson, Zacharias Frato</p><p> </p><p> </p>

Die bisherige empirische Forschung hat geschlossene Heimunterbringungsformen nicht evaluiert – weder in Deutschland noch in anderen Ländern. Die hiesige Untersuchung soll – im Sinne einer Erkundungsstudie – einen ersten Schritt in diese Richtung einleiten. Die Ergebnisse der vorliegenden Studie liefern eine umfangreiche Bestandsaufnahme über die Situation der Mädchen, die sich im Zeitraum von 1991 bis 2001 (n = 260) in den individuell-geschlossenen Gruppen im Mädchenheim Gauting befanden. Im Mittelpunkt der vorliegenden Dissertation stehen Indikationsfaktoren für freiheitsentziehende Maßnahmen sowie die Wirksamkeit pädagogisch-therapeutischer Hilfen im geschlossenen Jugendhilfesetting. Berücksichtigt werden dabei subjektive Aspekte wie Zufriedenheit der Heimbewohnerinnen mit der Einrichtung – im Vergleich dazu subjektive Fremdeinschätzungen durch das pädagogische Personal (Erzieher und Lehrer), zusätzlich werden aber auch objektive Aspekte wie etwa Testauswertungen in Kombination mit Interviews unter Einbeziehung von faktischen Lebensdaten und Diagnosen die Klientel betreffend sowie eine Datenerhebung durch ein externes unabhängiges Institut herangezogen. Insgesamt finden sich eine Reihe von Belegen, die auf positive Veränderungen durch den Aufenthalt in Gauting hinweisen – allerdings gibt es auch Ergebnisse ohne signifikant positive Fortschritte. Der Wert der vorliegenden Dissertation liegt vor allem in ihren dokumentarischen Charakter, der eine Vielzahl von Anregungen für inhaltliche und methodische Diskurse sowie einen guten Ausgangspunkt für weiterführende Analysen bietet. / Previous empirical research has not evaluated forms of placement in a locked home, either in Germany or in other countries. This investigation is intended to take a first step in this direction, in the form of an exploratory study. The results of the present study provide an extensive stock-taking of the situation of girls living in individually locked groups at the Gauting Girls'' Home in the period from 1991 to 2001 (n = 260). The present thesis centers on indication factors for freedom-depriving measures as well as the effectiveness of pedagogical therapeutic aids in a locked youth welfare setting. It takes account of subjective aspects such as the home residents'' satisfaction with the facility and, in comparison, subjective outside assessments by the pedagogical staff (educators and teachers). In addition it considers objective aspects such as test evaluations in combination with interviews including factual biographical data and diagnoses for the clients as well as a data collection by an external independent institute. Altogether there is a certain amount of evidence of positive changes through a stay in Gauting; however, some results also show no significantly positive progress. The primary value of the present thesis is its documentary nature, which offers a multitude of suggestions for content-related and methodological discourses as well as a good starting point for deeper analysis.

Issued also as thesis, Hamburg. / Includes bibliographical references (p. [181]-184).

This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. Despite this, no study has been undertaken into his life and many of his surviving instruments have not been studied. This study corrects this by examining both the biographical and organological aspects of this maker. In Chapter 1, the current knowledge of Lotz’s biography is examined for veracity. This has been achieved through consultation of archival sources such as birth and marriage registers and contemporary newspaper announcements. The biographies of the other significant Viennese makers have also been examined in order to determine their relationship to Lotz. Particular attention has been paid to those makers known to have associated with him. Chapter 2 is a comparative study of clarinets. The surviving clarinet by Lotz is the main focus, and it is compared to earlier Viennese instruments as well as other contemporary instruments in order to place Lotz’s instruments in context. Basset horns are the instruments for which Lotz is best known. Chapter 3 is a comparative study of the surviving basset horns, and includes instruments by Lotz which have not previously been studied. The comparative aspect of the study focuses most particularly on instruments by Doleisch, who also made significant numbers of basset horns in nearby Prague during Lotz’s lifetime. This chapter also includes a discussion on the basset clarinet. Chapter 4 studies Lotz’s work with bassoons and contrabassoons. As with Chapter 3, it includes a number of Lotz’s instruments which have not been studied before. It continues the comparative theme and examines not only Viennese instruments, but particularly those by August Grenser, whose bassoons are widely copied by modern makers. The attribution of the surviving flute by Lotz is examined in Chapter 5. Lotz’s involvement with the flute is examined through documentary evidence and the output of his students is examined in order to determine his level of influence on this instrument. Chapter 6 is a study of the two surviving oboe fragments by Lotz as well as the surviving cor anglais. As internal measurements have been impossible to obtain for many of these instruments, the comparative study has instead focussed on external aspects of decoration and design. The conclusion gives a summation of the evidence presented in the preceding chapters and is used to demonstrate Lotz’s unique contributions as an instrument maker and his impact on the future and design of woodwind instruments.

Issued also as thesis, Hamburg. / Includes bibliographical references (p. [181]-184).