»Verdi hat allerdings kein Requiem nach deutscher Art geschaffen«, befand der Referent des Musikalischen Wochenblattes August Guckeisen, nachdem er im Dezember 1876 der reichsdeutschen Erstaufführung von Giuseppe Verdis »Messa da Requiem« in Köln beigewohnt hatte. Ein »Requiem nach deutscher Art« – gab es so etwas überhaupt? Zumindest existierte ganz offenkundig eine klare Vorstellung von einer als ›deutsch‹ etikettierten Ästhetik der musikalischen Trauer. Typisch daran erscheint zunächst die darin vorausgesetzte Einteilung der Welt in etwas Eigenes und etwas Anderes. Der Hang zu einer national eingerahmten Kulturdefinition – und sei es durch Abgrenzung gegenüber etwas vermeintlich Fremdem – wirkt bis in die Gegenwart nach. Diese Untersuchung geht den Merkmalen ethischer Traditionen in der Empfindung und Bewertung der musikalischen Trauer nach und dokumentiert die unterschiedlichen Blickwinkel auf ein Werk, das erstens aus ganz verschiedenen Gründen als typisch ›italienisch‹ wahrgenommen wurde und das zweitens in einem Überschneidungsbereich von Kirchenmusik, Repräsentationsmusik und Konzertmusik steht. Das ›italienische‹ Selbstverständnis, das sich aus Sicht der Kritik in der Komposition niederschlug, rieb sich in zahlreichen Punkten mit dem ›deutschen‹. Diese Reibungspunkte wurden anhand historischer Quellen, vorwiegend aus Tageszeitungen und Musikfachblättern, freigelegt, um sowohl Gemeinsamkeiten als auch politische, konfessionelle und ästhetische Differenzen innerhalb der deutschsprachigen Kritik herauszuarbeiten. / The dissertation deals with the German reception of the Messa da Requiem by Giuseppe Verdi, a grand musical work composed in memory of the Italian writer Alessandro Manzoni. The author concentrated on the period of the first performances which took place world-wide between 1874 and 1878. Verdi’s composition follows the classical-romantic tradition of the »concert requiem« and is linked to the Requiem settings by Cherubini, Mozart and Berlioz. Due to the work’s scenic character, which many critics considered inadequate to the religious text, it was often evaluated disparagingly. In many cases the conceit of German musical criticism came to light, expressing itself sometimes more, sometimes less drastically. A critic from Cologne said that the work was »however, not a requiem in the German style.« This dichotomous demarcation of a ›German style‹ against an ›Italian style‹ is only partly to be understood as an influence of Wagnerism and Kulturkampf in the young German Empire. Romantic church music aesthetics in particular played a decisive role here by applying strict idealistic standards. It was considered reprehensible for the music of a funeral mass to stir up or frighten the audience, as well as present a scenically determined, ›realistic‹ music. Emotionality did not seem to have been appropriate for the subject of a mass for the deceased, while critics expected the music to support a spiritual atmosphere leading to the consolatory idea of eternal rest. A certain ambivalence in the understanding of the work has persisted to the present day. Still, it seems to stand in a twilight zone between spiritual and secular concert music, which supports discussions about interpretation and appropriate performance practice. Reflecting on historical concepts and conceptions gives the opportunity to question current positions and their origins.

Zugl.: Freiburg (Breisgau), Univ., Habil.-Schr., 2006/2007

This conflict study in Theology investigates reconciliation possibilities in indigenous lands in northern Sweden to be discussed through the Sámi Trail of Tears Walking Trail – a real-life innovation project. The historical material is based on the depiction of forcefully dislocated Sámis and the now polarized situation where local indigenous groups risk new conflicts partly with each other, partly with extractive industries, motorized tourism, and the majority’s society. Six public media sources were used for a brief thematization to detect discourse ethics used in communicative action. Further, two conferences were visited through participatory observation, revealing the importance of inclusion and visualized sovereignty. Five relevant sites were observed by asking how a walking trail could add value to reconciliation processes, and twenty interviews, or reasonings, were done mainly in Sápmi and Torne River valley, with one additional in Northern Finland to compare the situation of Forest Sámis in both countries. While site observations revealed ongoing slow violence in environments, they also showed how individuals become activated by their existing or absent relationships to a place. The interviews depicted cultural and existential views on place-bodies, reindeer keeping, natural elements, and material and immaterial values connected to them. The research also focused on the indigenous value-based Verdi system, recognized, and remembered by interviewees belonging indigenous communities. Further, the investigation asked about the role of leadership in truth- and reconciliation processes. The material was collected through qualitative indigenous research methods, and completed with perspectives of inclusion, wilderness spirituality, slow violence, and slow tourism. The material was analytically discussed through Jürgen Habermas’s Theory of Communicative Action. The findings points toward importance of continuing truth commissioning, a potential role of the Church in future negotiations, and also criticism against the failings of national leadership participation in truth-telling and reconciliation processes. Lastly, a briefly discussed model of Habitus-Based Reconciliation suggests focusing on long-term existential aspects of shared places and negating natural resources needed for communities and local cultures.

No description available.

Master of Music / School of Music, Theatre, and Dance / Reginald L. Pittman / This Master’s Report is an examination of four vocal song cycles for the baritone voice. Song cycles researched, interpreted, and performed include An die ferne Geliebte (1816) by Ludwig van Beethoven, Sei Romanze (1838) by Giuseppe Verdi, Don Quichotte à Dulcinée (1932-1933) by Maurice Ravel, and Let Us Garlands Bring (1938-1942) by Gerald Finzi. In this report you will find information on the history of vocal song cycles, biographical information about composers and poets/lyricists, compositional analysis, historical breakdowns of the musical periods, musical and poetic interpretations, original texts and English translations, pedagogical and performance practice insights, and never before published transpositions of “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” and “Nell’orror di note oscura” from Giuseppe Verdi’s Sei Romanze (1838). Songs in this report are: “Auf dem Hügel sitz ich spähend,” “Wo die Berge so blau,” “Leichte Segler in den Höhen,” “Diese Wolken in den Höhen,” “Es kehret der Maien, es blühet die Au,” and “Nimm sie hin den diese Lieder” from An die ferne Geliebte by Ludwig an Beethoven. “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” “In solitaria stanza,” and “Nell’orror di note oscura” from Sei Romanze by Giuseppe Verdi. “Chanson romanesque,” “Chanson épique,” and “Chanson à boire” from Don Quichotte à Dulcinée by Maurice Ravel. “Come away, come away, death,” “Who is Silvia?,” “Fear no more the heat o’ the sun,” “O Mistress Mine,” and “It was a lover and his lass” from Let Us Garlands Bring by Gerald Finzi. The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 9th, 2017 in All Faiths Chapel on the campus of Kansas State University. The recital featured the talents of baritone Matthew D. Cyphert and pianist Mitchell S. Jerko.

When an atomic nucleus undergoes fission, two fragments with different mass and kinetic energy are emitted. The highly unstable fission fragments (FFs) evaporate prompt neutrons soon after the nucleus splits. A precise measurement of both, the mass yield distribution of the FFs and the average prompt neutron emission, $\bar{\nu}$, is important not only for current nuclear technologies but also for the development of future technologies such as Generation IV nuclear power plants. Moreover, the experimental determination of the mass yield distributions, both pre- and post-neutron emission, is valuable for testing fission models. Additionally, a precise measurement of the average neutron multiplicity as a function of the FFs mass, <img src="http://www.diva-portal.org/cgi-bin/mimetex.cgi?$%5Cbar%7B%5Cnu%7D(A)$" data-classname="equation" data-title="" />, is crucial in the understanding of how the excitation energy is shared between nascent FFs.  The VElocity foR DIrect particle identification spectrometer (VERDI) is designed to achieve pre- and post-fission mass distributions with resolutions between 1-2 u. VERDI is a double-energy double-velocity instrument that consists of two arms. On each arm is operated one Microchannel Plate detector (MCP) for the collection of the FFs start time and up to 32 Passive Implanted Planar Silicon (PIPS) detectors for the stop time and energy detection of the FFs. However, challenges in the experimental measurements with VERDI arise due to the high degree of ionization (plasma) in the detector material from the interaction with the FFs. The plasma causes a delay in the charge carriers' migration for the signal start, known as the plasma delay time effect (PDT). Furthermore, the recombination of charge carriers in the plasma causes a shrinking in the signal's height, known as pulse height defect (PHD). This phenomenon leads to inaccuracies in the measurement of FFs mass distributions and increased systematic uncertainties.  Previous studies on PDT and PHD have shown varying behaviors across different detector types, which motivated dedicated studies in the type of PIPS detectors used in VERDI. An experimental campaign to characterize the PDT and PHD in PIPS detectors was conducted in the LOHENGRIN recoil separator, which is part of the ILL nuclear facility in Grenoble, France. Measurements of FFs in a range of masses between 80 u and 149 u, with energies between 20 MeV to 110 MeV, were taken to fully characterize six PIPS detectors. The resulting PDT and PHD values were 1 ns to 4 ns and 2 MeV to 10 MeV respectively. The PDT and PHD exhibited consistent energy and mass dependencies across the detectors, which enables the possibility of an event-by-event correction of VERDI data. In this thesis, the basis for discussing the results of the studies of the PDT and PHD effects will be presented.