Thesis (doctoral)--Otto-Friedrich-Universität, Bamberg. / Includes bibliographical references (p. [268]-292) and index.

Thesis (doctoral)--Otto-Friedrich-Universität, Bamberg. / Includes bibliographical references (p. [268]-292) and index.

Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 2000, Apr. 16, 2001, Nov. 3, 2003, and Mar. 28, 2005. Includes bibliographical references (p. 113-115).

No description available.

Berlin, Univ. der Künste, Diss., 2008. / Literaturverz. S. 476-492.

The purpose of this dissertation is to provide an introduction to the composer, Lawrence Weiner, and to his Concerto for Guitar and Orchestra, one of the many neglected guitar concerti that merits closer study and more frequent performances. Weiner, a prolific and prominent composer in the South Texas region, composed the concerto in 1986. The concerto was never published. This dissertation is the first attempt to study Weiner's Concerto for Guitar and Orchestra to date. This study provides insight into the compositional style of Weiner, and the understanding and performing of this work. The compositional language of this concerto is examined through an analysis of the aspects of form, harmonic/tonal scheme and thematic development. A performance edition and suggestions that are approved by the composer are also presented.

No description available.

Texte remanié de: Diss.--Fakultät Sprach- und Literaturwissenschaften--Bamberg, 2001. / Bibliogr. p. 268-292. Index.

Le travail artistique ne se construit pas sur une question préalable mais sur l’émergence toujours renouvelée de questions imprévisibles.L’oeuvre d’art à l’époque de sa discrétion technique tire bien évidemment son titre du texte de Walter Benjamin L’oeuvre d’art à l’époque de sa reproductibilité technique. Dans son texte, Benjamin essaie d’envisager les conséquences esthétiques et politiques de la reproductibilité technique. Nous essayons (modestement) de reposer la même question à l’heure du numérique.Cette question n’était pas donnée d’emblée. Elle est apparue dans le tressage complexe de la pratique. Dans ce tressage de problématiques apportées par la pratique elle-même, deux temps sont aujourd’hui visibles :- le temps de la reproductibilité technique, du livre d’artiste et du don ;- le temps de la discrétion, du numérique et de la disponibilité.Ces questions sont apparues de proche en proche et jamais selon un plan préétabli. Le travail d’analyse, n’est donc pas la recherche d’une stratégie ou d’un plan préexistant mais le relevé a posteriori d’un territoire découvert par une marche dans un pays inconnu.Ce tressage continu de la pratique et de la théorie est présent dans l’écriture même de la thèse. S’y mêlent à égalité des oeuvres plastiques, des textes littéraires, des articles, des manifestes et des écrits théoriques. / Artistic work is not built on a previous question but always renewed by the emergence of unforeseen issues.The Work of Art in the Age of Technical Discretion obviously takes its title from the text of Walter Benjamin The Work of Art in the Age of Mechanical Reproduction. In his text, Benjamin tries to consider the aesthetic and political consequences of technical reproducibility. We try (modestly) to ask the same question in the digital age.This question was not immediately given. It appeared in the complex braiding practice. In this weaving problems introduced by the practice itself, two times are now visible:- Time of technical reproducibility, artist’s book and gift;- The time of discretion, digital and availability.These questions have arisen step by step and not according to a predetermined plan. The analytical work, therefore, is not looking for a pre-existing strategy or plan, but the survey retrospectively territory discovered by a walk in an unknown country.This continuous braiding of practice and theory is in the writing of the thesis too. Mingle with equal plastic works, literary texts, articles, manifestos and theoretical writings.

Diploma thesis The Foreign Broadcasting Department of Former Československý rozhlas (The Czechoslovakian Radio) Between 1966-1969 describes the operation of an important part of the key broadcastng institution in former Czechoslovakia. Early times of reporting of Czech polititians during the Second World War from the UK, USA and USSR are included. Paragraphs related also mention the first reports of Czechoslovakian journalists after the Second World War and activities of Frantisek Gel who worked as an editor for the Czechoslovakian radio and later between 1945-1946 became renowned for his reports from the Nuremberg Trials. It also deals with activites of Czech journalists working in the International Department. The text also contains overview of political and social situation in former Czechoslovakia in the second half of the twentieth century and how it is reflected in the overall operations of former Czechoslovakian Radio. A description of an important period The Prague Spring 1968 is also included. The text also descibes the period of so called Normalisation in former Czechoslovakia. Moreover, the thesis contains reasons for journalists redundancy. The final paragraphs describe their activities after the Velvet Revolution in 1989, up until the present. The key method used to compile this...