The Bach Cello Suites have become widely transcribed and studied on the double bass. They have also become essential teaching material as most US orchestra auditions demand solo Bach for bass auditions. Transcribing the chords in Bach Cello Suites presents many difficulties on the bass because of the different tuning of our instrument (cello in 5ths; double bass in 4ths). There is no unified solution to all the problems presented in chord playing at this time. The purpose of this project, therefore is to give bass players solutions to the problems by looking at historical interpretation of chords, technical execution of the chords on cello and bass, tonal and resonance considerations and fingering solutions. The chords chosen represent the most common and most difficult to transcribe to the double bass from the Cello Suites.

Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.

<p>Prvim delom rada su obuhvaćene op&scaron;te karakteristike sliva Tami&scaron;a i njegovog toka. Tami&scaron; u na&scaron;oj zemlji ima sve karakteristike ravničarske reke. Izvire ispod vrha Semenik u Rumuniji, a u&scaron;će mu se nalazi kod Pančeva. Generalno tok Tami&scaron;a ima oblik polukruga okrenutog ka severu. Ukupna dužina Tami&scaron;a iznosi 340 km, dok u na&scaron;oj zemlji on ima dužinu od 118 km. Sliv Tami&scaron;a u Jugoslaviji obuhvata delove srednjeg i južnog Banata, a prostire se preko 7 geomorfolo&scaron;kih celina, na povr&scaron;ini od 1528,5 km2. Posle obrade režima vodostaja se može konstatovati da Tami&scaron; ima pojavu visokih voda u aprilu, a zatim u maju, a najnižih u oktobru i septembru. Prema tome on pripada centralno-evropskoj varijanti, pluvio-nivalnog režima. Drugi deo ovog rada je posvećen vodoprivrednim karakteristikama i problemima Potami&scaron;ja. Ono u celini ima povr&scaron;inu od 1.194,7 km2, sa 121.596 stanovnika (popis 1991). Na ovom području nalazimo 20 naselja, od kojih samo Pančevo ima karakter gradskog naselja. Bitne karakteristike Potami&scaron;ja se sastoje u njegovom depopulacionom karakteru i slaboj privrednoj razvijenosti sa dominacijom agrara. Ovaj prostor se odlikuje izvođenjem kompleksnih regulacionih radova tokom poslednjih 250 godina. Regulacije su obavile korenite promene u hidrogeografiji i geografskom pejzažu Potami&scaron;ja. Pomenimo samo neke: skraćivanje toka Tami&scaron;a u Jugoslaviji za 79 km, prokopavanje Kara&scaron;ca, izgradnja 3 ustave na Tami&scaron;u i 1 na Kara&scaron;cu i dr. Na području Potami&scaron;ja se nalazi 18 sistema za odvodnjavanje, čija ukupna povr&scaron;ina iznosi skoro 1000 km2 i 10 sistema za navodnjavanje povr&scaron;ine od 4.340 ha. Potami&scaron;je se može nazvati &quot;ribljim eldoradom&quot;. Uz postojanje 7 ribnjaka, planirana je njihova izgradnja na jo&scaron; 16 lokacija. Ova privredna grana mogla bi imati značajnu ulogu u popravljanju lo&scaron;eg privrednog stanja ovog područja. Potami&scaron;je ima relativno bogate turističke potencijale, koji jo&scaron; nisu iskori&scaron;ćeni. Postojeći motivi bi se najbolje ogledali u razvoju nautičkog, ribolovnog i rekreacionog turizma. Važno je napomenuti da bi razvoj turizma podstakao i razvoj drugih privrednih grana.</p> / <p>The abstract has been processed with OCR optical text recognition technology.</p><p>In the first part of dissertation there is general characteristics of Tami&scaron; basin and his flow. In Yugoslavia Tami&scaron; river has the all characteristic of the rivers in the plains. The spring of Tami&scaron; river is under top of Semenic in Romania and its mouth of river is near Pančevo. In generally, flow of Tami&scaron; has a shape of semicircle turn to north. Whole length of Tami&scaron; river is 340 km, while in Yugoslavia its length amount 118 km.<br />Tami&scaron; basin in Yugoslavia include parts of middle and south Banat, spreading over 7 geomorphologic entity on the surface area of 1528,5 km2.<br />After investigation of waterlevel regime it could be conclude that Tami&scaron; river has the appearance of high level water in April and May, until the low level water has the appearance in October and September. Toward this, Tami&scaron; river belong to the central-European variant of pluvio-nival regime.<br />The second part is turn to watereconomy characteristic and problems of Potami&scaron;je region. Potami&scaron;je has the total square area of 1.194,7 km2, with 121.596 habitants (census 1991). There is 20 settlements, from which, only Pančevo has character of town. Important characteristic of Potami&scaron;je region is his depopulation character and weak development of economy with domination of agrar.<br />Distinction of Potami&scaron;je region is complex regulations in the last 250 years. Regulations were done significant changes on hydrogeography and geographical landscape of Potami&scaron;je. Let mention some of: shortened of the Tami&scaron; flow for 79 km, digged out the canal Kara&scaron;ac, built three dams on Tami&scaron; river, and one on Kara&scaron;ac.<br />In this region there are 18 system for drainage, which total square area amount almost 1.000 km2 and 10 system for irrigation with square area of 4.340 ha.<br />The other name for Potami&scaron;je can be &quot;fish eldorado&quot;. There are 7 fish-pond, and on the other 16 location were planed there build.<br />Potami&scaron;je has, relatively, rich tourists potentials, which are not developed. Existing motives are appropriate for developing of nautic, fishing and recreation tourism.</p>

Aim: This thesis aims to investigate the varying needs and perceptions of employees in different positions within a single organization in Brazil with regard to flexiblework arrangements. Methodology: The study selected eight employees from diverse positions within the organization through purposive and snowball sampling techniques. The datacollection process employed a semi-structured interview approach, using an interview guide exploring the perception and needs of the employees regarding flexible work arrangements. The primary objective of the interviews was to offer valuable insights into employees' experiences and viewpoints, which aids in understanding the workforce's needs and requirements. Findings: The analysis found that employees across the different hierarchies in the organization exhibited a shared inclination towards remote work due to its advantages. However, the choices made by the employees were influenced by the team and managerial dynamics, client demands, and peak periods of activity. The findings disclosed that the advantages of flexible working arrangements are multifaceted encompassing work-life balance, quality of life, and cost savings. Conversely, challenges in the form of limited communication and relationship building opportunities, hierarchical complexities, and the high commuting costs incurred by hybrid workers were identified. The findings, therefore, emphasized the importance of fostering support, collaboration, and a positive work environment. Conclusion: Overall, the organization actively promotes adaptability to remote work, offering incentives and the necessary equipment to facilitate work-from-home arrangements. This research, therefore, underscores the need to embrace remote work and advocate for an enabling environment that addresses the diverse needs and challenges encountered by employees engaging in flexible work practices.

L'objectif général de cette recherche est d'élaborer un processus d'apprentissage d'accompagnement au piano jazz, dans le but de concilier mes deux instruments : le piano, de formation classique, et ma voix, entraînée au style jazz principalement. Elle fait état de mon parcours dans ma quête vers la synthèse de mes connaissances et le développement de ma personnalité artistique à travers la création jazz contemporaine. Celle-ci m'a menée vers l'étude de pianistes chanteurs modèles dont j'ai écouté et transcris la musique. Je me suis interrogée à savoir en quoi la transcription de chanteurs pianistes accompagnateurs peut influencer ma relation voix et piano à travers mes créations. Je suis allée plus loin dans ma compréhension grâce à l'étude de manuels théoriques, de cours maître/élève et de tutoriels. De là, j'ai pu déceler certains types de jeux majeurs en jazz pour l'accompagnement au piano de chanteurs. J'ai réuni ces types d'accompagnement en une typologie qui m'a servie tout au long de mon parcours de création. Dans ma pratique quotidienne, j'ai utilisé la recherche-action, qui se traduisait comme un processus itératif de développement - réflexion - correction. La relation entre mes deux instruments est devenue de plus en plus fusionnelle, créant ainsi un contrepoint polyphonique. Au fil des répétitions quotidiennes, j'ai apporté des modifications à mes créations comme le contrepoint entre la voix piano évoluait en un contrepoint polyphonique circulaire. En groupe, j'ai pu parfaire l'ensemble de mes œuvres, comptant cinq compositions et cinq arrangements originaux. Finalement, des similitudes qui unissent mes œuvres sont apparues, faisant émerger les caractéristiques de ma personnalité artistique. Cette recherche est une invitation aux vocalistes à s'auto-accompagner.

Die Unterschiede zwischen der Klavierfassung von Zemlinskys Opus 13 Nr. 1 nach einem Gedicht Maurice Maeterlincks und der Fassung für Orchester sind darauf zurückführbar, dass der Komponist in extremer Weise auf die klangfarblichen und ästhetischen Ansprüche der jeweiligen Genres reagiert. In diesem Beitrag wird untersucht, welche Eigenschaften des Orchestersatzes ein emphatisches Gattungsverständnis transportieren. Mit seiner Orchestration gehört das Lied einer Gattung an, die, als die Lieder Nr. 1–4 des Zyklus’ in dem ›Wiener Skandalkonzert‹ 1913 uraufgeführt wurden, auf der Höhe der Zeit stand. Nach 1918, mit den in ihrer Existenz bedrohten Riesenorchestern der Vorkriegszeit, ging das ästhetische Interesse an Orchesterliedern mehr und mehr verloren (vgl. Bork 2004). Zemlinsky vertrat mit der Orchesterfassung dezidiert die Position symbolistischen Komponierens am Fin de Siècle. Bevor Ähnliches in Besetzungen der Wiener Schule üblich wurde, fügte er der gewöhnlichen Orchesterbesetzung Instrumente wie das Harmonium und das Klavier hinzu. Mit der Harfe bilden diese einen eigenen Strang akkordfähiger Orchesterinstrumente. Dieser Strang offeriert drei unterschiedliche Einzelfarben und drei Weisen ihrer Kombination: Sämtliche oder je zwei von ihnen lassen sich verbinden. Die Koloristik bietet neue dramaturgische Möglichkeiten. Die drei Orte des Textes – Wald, Meer und Stadt – werden als drei Zeiten gefärbt: Mit jeweils anderem Instrumentarium schreibt Zemlinsky der Zukunft eine relative Nähe, der Vergangenheit Ferne und der Gegenwart vieldeutigen Rausch zu. Untersucht werden im Detail die Begleittexturen, die Zemlinsky für die Orchesterfassung des Liedes neu erfand, warum er Abschnitte der Singstimme oktavierte und ergänzte und welchen Sinn die mehrtaktigen Passagen erzeugen, die er hinzufügte. So vermittelt das neue Vorspiel mit den leeren Flageoletten der hohen Streicher eine Ahnung davon, wie exquisit der Tod ist, dem Maeterlincks drei Schwestern zustreben. / The differences between the piano version of Zemlinsky’s Opus 13 No. 1, based on a poem by Maurice Maeterlinck, and the orchestral version can be traced back to the fact that the composer responded in an extreme way to the timbral and aesthetic demands of the respective genres. This contribution examines which properties of the orchestral set convey an emphatic understanding of the genre. With its orchestration, the song belongs to a genre which was at its peak as the songs nos. 1–4 of the cycle were premiered in ›Vienna’s Skandalkonzert‹ in 1913 but lost its aesthetic interests with the existence of gigantic orchestras of the pre-war period after 1918 being at stake (cf. Bork 2004). Zemlinsky, with his orchestral composition, determined the position of symbolistic composing at fin-de-siècle. Before similar things even became customary in the orchestral settings of the Viennese school, he added the usual scoring instruments such as the harmonium and the piano. With the harp, they form an individual strand of orchestral instruments capable of playing chords. This strand offers three different individual colors and three modes of their combination: all or two of them can be connected. The colorfulness offers new dramatic possibilities. Three places in the text – the forest, the sea and the city – are colored as three times: with different settings in each case, Zemlinsky gives the future a relative closeness, the past a distance, and the present an ambiguous intoxication. This paper will explore in detail the accompaniment textures, which Zemlinsky reinvented for the orchestral version of the song: specifically, why he octavated and supplemented some sections of the singing voice and what the sense is of the multiple bars of passages he added. Thus, the new prelude with the empty harmonics of the high strings conveys an inkling of how exquisite death is to which Maeterlinck’s three sisters strive.

Musiktheorie und Komposition' – so lautete das Leitthema des XII. Jahreskongresses der Gesellschaft für Musiktheorie (GMTH), der vom 5. bis 7. Oktober 2012 an der Folkwang Universität der Künste in Essen stattfand. Damit ist eine Schnittstelle bezeichnet, die im musiktheoretischen Diskurs immer von großer Bedeutung war. Die hier versammelten Beiträge sind an dieser Schnittstelle angesiedelt. Insgesamt 38 Autorinnen und Autoren erörtern Aspekte der Theoriebildung im Bezug auf zeitgenössische Musik, prüfen historische Kompositionslehren auf ihre Relevanz für den Musiktheorieunterricht, stellen aktuelle kompositionspädagogische Ansätze vor und loten die Potenziale des Instrumentierens, Arrangierens und Bearbeitens von Musik aus. Dabei spiegeln die Beiträge einen bewusst weit gefassten Kompositionsbegriff wider. Vor allem aber vermitteln sie einen Eindruck von der Breite und Vielfalt aktueller Musiktheorie und der auf sie bezogenen Didaktik.

Charles-Simon Catels Tragédie lyrique Sémiramis wird zum ersten Mal im Mai 1802 an der Pariser Oper aufgeführt – ein Jahr nach der Approbation seines Traité d’harmonie als offizielles Lehrmittel durch das Pariser Conservatoire. Durch diese zeitliche Nähe ist Sémiramis ein Studienobjekt für das Verhältnis von Musiktheorie und kompositorischer Praxis und kann in verschiedener Hinsicht als Aussage zur Ablösung einer alten Ordnung durch eine neue gelesen werden. In diesem Beitrag wird am Beispiel der Behandlung der Blechblasinstrumente auf die Verschränkung von kompositorischen und instrumentatorischen Ideen in diesem Werk hingewiesen. In der Revision von Sémiramis für eine zweite Produktion 1803 wird der Einfluss von Erfahrungen aus der ersten Aufführung fassbar. Diese Überarbeitung geht auch in die korrigierte Auflage der gedruckten Partitur ein, die jedoch nicht alle vorgenommenen Änderungen wiedergibt und somit nur bedingt als definitive Vorlage für weitere Produktionen dienen kann. Andere Aufführungsmaterialien – auch zu späteren Produktionen im fremdsprachigen Ausland – werfen grundsätzliche Fragen nach der endgültigen Gestalt von notierten Anweisungen und nach der Verbindlichkeit ihrer Umsetzung auf. / Charles-Simon Catel’s Tragédie lyrique Sémiramis received its first performance at the Paris Opera in May 1802 – one year after Catel’s Traité d’harmonie was approved as official course material by the Paris Conservatoire. This chronological proximity of the two makes Sémiramis an object of study regarding the relationship between music theory and compositional practice. In many respects, it can be read as a statement about the replacement of an old order by a new one. This paper will highlight Catel’s treatment of brass instruments to illustrate interlinking issues of composition and instrumentation in his opera. In the revision of Sémiramis for a second production in 1803, the influence of experiences made in the first performance becomes observable. This revision is also incorporated in the corrected edition of the printed score, though it does not feature all his changes and thus can only partly be regarded as a definitive source for future productions. Further extant performance materials – some also intended for later productions in non-francophone countries – raise fundamental questions about the final form of notated instructions and our obligation to implement them.

The South African Revenue Service has in the past had difficulty in applying debt forgiveness in cases of corporate and business rescues. Taxation legislation was drafted to counter innovative section 311 schemes of arrangements where the sole purpose was to obtain maximum taxations benefits in relation to entities in financial difficulties. This approach was only concerned with the interests of the Revenue authorities. The central theme of this study focuses of the procedures now available to tax authorities and debtors alike when compromises were and are considered in South Africa in terms of income tax and company legislation. The South Africa Revenue Service’s approach the corporate rehabilitation is examined which is vital for investors, creditors and debtors alike. A comparative study with similar procedures in England is undertaken to establish how valid the procedures are in establishing a viable corporate rescue environment in South Africa in the future. / Dissertation (LLM)--University of Pretoria, 2012. / Procedural Law / unrestricted

Master of Science / Department of Apparel, Textiles, and Interior Design / Joy Kozar / This study examines colonization, development, and globalization in the Commonwealth of the Northern Mariana Islands (CNMI) with respect to the garment industry, the main industry of the islands. A broad-reaching analysis examined population, gender, economic factors, and import/export data in order to explore the repercussions of garment industry development and subsequent decline on the CNMI. A quantitative analysis was conducted utilizing data from the United States Census Bureau, the CNMI's Department of Commerce, and the U.S. Department of Commerce Office of Textiles and Apparel. This research illustrates how the effects of the garment industry in small developing nations are dramatically impacted by a trade arrangement, the Multi-Fiber Arrangement (MFA), which was a protectionist measure used to restrict manufacturing of certain product through a quota system. In addition, this study reveals the economic implications and societal outcomes for the CNMI after the collapse of the garment industry as a result of the 2005 MFA phase-out. Garment production orders shifted to large producer nations once quota restrictions were no longer in place. Factory closures, lost business revenue, and a loss of manufacturing positions affecting predominantly women plagued the CNMI as well as cost-of-living increases. Federalization of the CNMI took place in 2009 which further complicated the islands’ politics and guest worker population status. Tourism is now the CNMI's chief industry although its growth is dismal and heavily reliant upon world economies. A comparison between Mauritius, another small island nation, concludes the discussion with insight on women's development and future considerations for economic growth as a means of development and dependency in the CNMI.