Inaug.-Diss. Philos. Bern, 1995.

Diss. Univ. Bern, 2002.

Zugl.: Heidelberg, Univ., Diss., 2008 (leicht abgeänd.). / Originaltitel: Translation-based empirical analysis in semantic domains, Titel der Diss. Originaltitel: Translation-based empirical analysis in semantic domains.

Zugl.: Heidelberg, Univ., Diss., 2008 (leicht abgeänd.). / Originaltitel: Translation-based empirical analysis in semantic domains, Titel der Diss. Originaltitel: Translation-based empirical analysis in semantic domains.

An analytical comparing study of Land Art and its national and international aspects, dealing with Andy Goldsworthy in the first place. Material and Form are not the main subject of the discussion but the language in which the artists show their views on nature. The paper gives a translation of the artists' language and makes it readable. Connections are made between several cultural and social aspects such as religion, spirituality, Zeitgeist, science, art, music, theatre, literature, mass media, sport and nature. Description leads to an analysis of the metaphysical level of Land Art.

Test von Uebersetzungssystemen. Es wurde deutsche Sätze mit den folgenden Programmen ins Englische übersetzt: : Langenscheidts T1, Version 3.0 : Personal Translator Plus 97er Version : Personal Translator Plus 98 : Power Translator Pro, Version 6.2 unter Windows 95 : Systran Professional for Windows Version 1.6.0

Univ., Habil.-Schr.--Tübingen, 2000.

The viola d’amore is a small bowed instrument that was in use predominantly from the second half of the seventeenth century to the end of the eighteenth. Initially, the name viola d’amore referred to a treble viol strung with wire strings, but it underwent a transformation c.1700 with the addition of sympathetic strings, with the bowed strings changing from wire to gut. The history of the viola d’amore centres on German-speaking regions of Europe, with the cultivation of the sympathetic strings stemming from Austria. While originally reserved for the wealthiest classes, evidence suggests that the viola d’amore became a widely used instrument due to the number of extant instruments in collections today. Due to the viola d’amore existing in two forms, the historical and organological context of the instrument is of paramount importance. Thus, this thesis addresses not only the viola d’amore in both its forms, but also its predecessors, the baryton and the englische violet, charting their development and ultimate influence on the invention of the viola d’amore with sympathetic strings. The suggested line of evolution is supported by measurements and observations of construction of the individual instruments, as well as physical examinations of extant specimens, and is considered in light of relevant iconography, music scores, newspaper advertisements and literary references. The research has led to the redrawing of parameters for each instrument, clearly defining the instruments’ functions and notable attributes. This thesis is the first complete organological study of the viola d’amore and other bowed instruments with additional wire strings. It presents a comprehensive review of the associated literature for each instrument concerned, as well as measurements and organological observations, with particular emphasis on design and construction. Additionally, it also considers the development of wire-strung instruments in England, briefly including: native music wire-drawing; the existence of other instruments with the name ‘d’amore’ and its variations; and lesser considered instruments with sympathetic strings such as the hardanger fiddle and trumpet marine. Finally, the conclusion is drawn that the viola d’amore with sympathetic strings may be considered as the epitome of Baroque instrumental design.

Inaug.-Diss. Philos. Bern, 1996. / Bibliogr.: S. 379-391.

The dissertation describes a change in apparent time in the pronunciation of sibilants in the consonant cluster /str/. The empirical investigation of this feature in interviews from Austin shows a lower frequency profile for the sibilant in this cluster when compared to other sibilant productions. This acoustic characterization is indicative of the retraction of the tongue in the production of the sibilant. The further sociophonetic investigation provides statistical evidence for a change in apparent time that is affected mostly by sibilant duration and ethnic identification of the speaker. Additional qualitative analyses further support the interpretation of this process as a change from below.