Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.

Impedance measurement as a function of frequency is being increasingly used for the detection of organic molecules. The main building block required for this is a sinusoidal oscillator whose frequency can be varied in the range of a few KHz to tens of MHz. The thesis describes the design of Integrated CMOS Oscillator Circuits. There are 2 designs presented in the thesis, one of which is based on the Wien Bridge and the other, on an LC architecture. They provide both in-phase and quadrature outputs needed for the determination of the real and imaginary parts of complex impedances. The inductor in the LC tank is realized by gyration of a capacitor. This needs two variable transconductance elements. Linear transconductance elements with decoupled transconductance gm and output conductance go is presented. A novel circuit for detecting and controlling the amplitude of oscillation is described. A current mode technique to scale the capacitance is also discussed. Since this oscillator is used in an inexpensive hand-held instrument, both power consumption and chip area must be minimized. A comparison between the Wien Bridge and the LC tank based oscillator is presented. Simulation results pertaining to the design of the different blocks of the circuit are made available. / text

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University, Diploma Thesis, --Linz, 2008.

Based on an individual longitudinal data on dependent employment we analyse the role of Creative Industries for the employment system of Vienna. We focus on gross job flows and firm dynamics in this priority field of Vienna's urban policy and analyse the characteristics of the different parts of the cluster's production system. We find ample evidence for positive effects of Creative Industries on employment growth and firm birth, but also reveal considerable job turnover and a large heterogeneity of firm growth in the cluster. Especially, we find rather different evolutions along the clusters value chain, which points to weak linkages between upstream and downstream activities in the cluster. (author's abstract) / Series: Creative Industries in Vienna: Development, Dynamics and Potentials

In 2015, Wien Wirtschafsuniversität ranked among economic universities regularly disclosed on the Financial Times in position number 42. The University of Economics last three years, around 80th place. Why is this so? In the context of this thesis is to analyze not only the legal prerequisites for successful graduates of the master's program Finance and Accounting, but also deals with the practical use of knowledge on the labor market resp. As well as the current unemployment of graduates in what fields they can work, etc. In this work also deals with the human capital theory, which explores the motives for higher education. They are given different conditions during their studies at WU and Economics, as well as development starting salary after graduation. The last chapter contains examples that would be good to apply in the Czech higher education system. The question remains, why WU placed on better positions than ALL? According to the author's investment in science and research in Austria - currently invest nearly 2% of GDP, as well as 100-year-old development WU, when no interruption to develop economic theory and their application in practice, as well as linking university knowledge with practice.

How can the different religions of Austria be made visible? How can the believers claim space and right in the Austrian context? How can architecture contribute to educate about these religions? How can architecture encourage this multitude of religions to be regarded as positive and a strength of the Austrian society?

Wie die tschechische Historiographie überhaupt, so ist auch die tschechische Musikhistoriographie lange Zeit von Stereotypen beherrscht worden, die mit wissenschaftlicher Objektivität wenig zu tun hatten. Daher ist jeder Blick 'von außen' notwendig und willkommen, weil er uns auf die Klischees, aber auch die Lücken in unserer tschechischen Musikgeschichte nicht nur hinweist, sondern uns auch, wie Helmut Loos es in seinem Artikel 'Religiosität bei Smetana und Dvořák' getan hat, dazu veranlasst, unsere Standpunkte unter neuen Fragestellungen zu überdenken.

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Was die Zeitung für die elegante Welt im titelgebenden Zitat 1803 am Beispiel einer Oper von Domenico Della Maria beschreibt, ist am 1801 eröffneten Theater an der Wien kein Sonderfall: Gerade die zu dieser Zeit populären Werke des postrevolutionären französischen Musiktheaters werden in ihren Wiener Fassungen nicht nur den üblichen Adaptierungsprozessen wie Übersetzung, Kürzung oder Einlage unterzogen, sondern systematisch in ihrer Orchestrierung verändert. Dieser klangliche Stil des Hauses unterscheidet sich insbesondere in der Behandlung der Blasinstrumente von den französischen Vorlagen ebenso wie von der Praxis anderer Wiener Theater. / The quotation in the title here is taken from the journal Zeitung für die elegante Welt of 1803, and it refers to an opera by Domenico Della Maria. But what it describes was no isolated case at the Theater an der Wien, which had opened in 1801. The works of post-Revolutionary French music theater that were popular at this time were not merely subjected to the usual processes of adaptation as Viennese versions (such as translating the texts, making cuts or adding new material), for their orchestration was also systematically altered. The treatment of wind instruments that created the sound of this »house style« was different not just from the French originals themselves, but also from the practices of other Viennese theaters of the day.