The lecture was given on April 21, 1980. The problem with which this investigation is concerned is that of gathering information on the composer Johann Hummel, the performer Anton Weidinger, the keyed trumpet, for which the concerto was written, the concerto itself, and its ornaments, and in determining the correct performance practices of the ornaments. Sources written in the middle to late eighteenth century and from the first third of the nineteenth century gave valuable insight into the facts and attitudes concerning the composer, the performer, the instrument, and the concerto in question. Other information came from present day authorities writing in texts, periodicals, and reference works.

In the various groups of social bees, different systems of communication about food sources occur. These communication systems are different solutions to a common problem of social insects: efficiently allocating the necessary number of workers first to the task of foraging and second to the most profitable food sources. The solution chosen by each species depends on the particular ecological circumstances as well as the evolutionary history of that species. For example, the outstanding difference between the bumble bee and the honey bee system is that honey bees can communicate the location of profitable food sources to nestmates, which bumble bees cannot. To identify possible selection pressures that could explain this difference, I have quantified the benefits of communicating location in honey bees. I show that these strongly depend on the habitat, and that communicating location might not benefit bees in temperate habitats. This could be due to the differing spatial distributions of resources in different habitats, in particular between temperate and tropical regions. These distributions may be the reason why the mostly temperate-living bumble bees have never evolved a communication system that allows them to transfer information on location of food sources, whereas most tropical social bees (all honey bees and many stingless bees) are able to recruit nestmates to specific points in their foraging range. Nevertheless, I show that in bumble bees the allocation of workers to foraging is also regulated by communication. Successful foragers distribute in the nest a pheromone which alerts other bees to the presence of food. This pheromone stems from a tergite gland, the function of which had not been identified previously. Usage of a pheromone in the nest to alert other individuals to forage has not been described in other social insects, and might constitute a new mode of communicating about food sources. The signal might be modulated depending on the quality of the food source. Bees in the nest sample the nectar that has been brought into the nest. Their decision whether to go out and forage depends not only on the pheromone signal, but also on the quality of the nectar they have sampled. In this way, foraging activity of a bumble bee colony is adjusted to foraging conditions, which means most bees are allocated to foraging only if high-quality food sources are available. In addition, foraging activity is adjusted to the amount of food already stored. In a colony with full honeypots, no new bees are allocated to foraging. These results help us understand how the allocation of workers to the task of food collection is regulated according to external and internal nest conditions in bumble bees. / Innerhalb der sozialen Bienen tritt eine Vielzahl verschiedender Systeme zur Kommunikation über Futterquellen auf. Diese Kommunikationssysteme sind verschiedene Lösungen eines Problems, mit dem alle sozialen Insekten konfrontiert sind: wie lässt sich regulieren, daß die benötigte Anzahl an Arbeiterinnen der Aufgabe des Futtersammelns, und dazu möglichst den besten vorhandenen Futterquellen, zugeteilt wird? Die von einer Art gewählte Lösung hängt von den speziellen ökologischen Rahmenbedingungen, aber auch von der evolutionären Vorgeschichte dieser Art ab. Ein herausragender Unterschied zwischen Honigbienen und Hummeln beispielsweise ist, daß Honigbienen den Ort einer profitablen Futterquelle ihren Nestgenossinnen mitteilen können, was Hummeln nicht tun. Um Selektionsdrücke zu identifizieren, die diesen Unterschied bewirken könnten, habe ich den Nutzen einer solchen Kommunikation quantifiziert. Es zeigt sich, daß dieser Nutzen stark vom Habitat der Bienen abhängt, und daß Kommunikation über den Ort von Futterquellen in temperaten Habitaten unter Umständen keine Vorteile für Bienen bedeutet. Das könnte daran liegen, daß sich die räumliche Verteilung der Ressourcen zwischen Habitaten, und besonders zwischen temperaten Gebieten und den Tropen, unterscheidet. Dieser Umstand könnte der Grund dafür sein, daß die hauptsächlich in temperaten Regionen lebenden Hummeln nie eine Methode zur Kommunikation von Information über den Ort von Futterquellen evolviert haben, während die meisten tropischen sozialen Bienenarten (alle Honigbienen und viele stachellose Bienen) Nestgenossinnen zu bestimmten Orten rekrutieren können. Jedoch stellte sich in meinen Experimenten heraus, daß auch bei Hummeln die Zuordnung von Arbeiterinnen zur Aufgabe des Futtersammelns über Kommunikation reguliert wird. Erfolgreiche Sammlerinnen produzieren ein Pheromon, welches andere Hummeln auf die Präsenz einer Futterquelle aufmerksam macht. Dieses Pheromon stammt aus einer Tergaldrüse am Abdomen, deren Funktion bisher nicht bekannt war. Die Benutzung eines Pheromons zur Kommunikation über Futterquellen im Nest ist von anderen sozialen Insekten bisher nicht bekannt. Das Pheromonsignal wird vermutlich abhängig von der Qualität der Futterquelle moduliert. Hummeln im Nest kosten außerdem den neu eingetragenen Nektar. Ihre Entscheidung auszufliegen und zu sammeln ist sowohl vom Pheromonsignal als auch von der Qualität des von ihnen gekosteten Nektars abhängig. Die Sammelaktivität der Hummelkolonie wird damit an die Sammelbedingungen angepasst – nur wenn profitable Futterquellen vorhanden sind, werden viele Sammlerinnen aktiviert. Zusätzlich hängt die Sammelaktivität von der Vorratssituation im Stock ab. Sind die Honigtöpfe gefüllt, werden keine neuen Arbeiterinnen zum Sammeln aktiviert. Diese Ergebnisse helfen uns zu verstehen, wie bei Hummeln die Anzahl der aktiven Sammlerinnen je nach den Bedingungen innerhalb und außerhalb der Kolonie reguliert wird.

abstract: The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a comparatively small repertoire. Until the mid-20th century, composers did not view the bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo repertory for the bass clarinet before this time. Bass clarinetists desiring to perform repertoire from the Baroque, Classical, and Romantic periods must then appropriate music from other instruments. Through this study, I identify and detail a process for creating informed transcriptions of music for the bass clarinet to increase its body of solo and chamber literature. I examine the original scores and existing transcriptions of Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello, Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios” by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major, K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I compare this to the transcription process for other instruments through examination of the Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed from clarinet to viola by the composer himself. In this document, I discuss the historical background of the selected pieces, the selection process, editing considerations, performance practice, and the usage of transcriptions as a pedagogical tool. Although transcriptions for the bass clarinet already exist, appropriation of music from other instruments will continue to supplement and diversify its repertoire. These pieces serve to develop important technical and musical skills and allow the bass clarinetist to play music across various style periods. In this project, I select and transcribe three pieces for the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of this document. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Johann Nepomuk Hummel (1778–1837) was a leading composer, virtuoso pianist, and well-known pedagogue during the late Classical and early Romantic periods. His music was important and frequently performed during his lifetime, but his piano preludes, Op. 67, seem to have been completely forgotten. These preludes reflect the traditional use of the prelude, with many traditional piano techniques. The influence of Hummel's Op. 67 on the next generations is clearly shown in the similarities in their compositions, especially the works of Chopin. This dissertation includes a formal analysis of the preludes and a discussion of each specific type of piano techniques with practicing suggestions, providing a pedagogical guide for students on how to use Hummel's works to prepare for other composers.

Hummel's Concerto for Trumpet (Concerto a Tromba principale) is overtly operatic and is stylistically reminiscent of Mozart's Don Giovanni. Using the methodology of Leonard Ratner and Wye J. Allanbrook, it is possible to explore gesture and rhetoric in Hummel's Concerto for Trumpet and Mozart's Don Giovanni, and achieve a deeper understanding of the stylistic similarities shared between the two works. In the third movement, dance is the most significant link to Don Giovanni. In the second movement, Hummel alternates between the emotions of Donna Anna and Don Ottavio as they appear in act 1, scene 13. The first movement makes extensive use of contrasting topics identified with buffa and seria characters to advance the musical narrative. Comparing Hummel's concerto and Mozart's opera is a hermeneutical approach that illuminates several performance practice implications. Knowing the expressive similarities and rhetorical strategies common to both works clarifies several issues, such as tempo, ornamentation, and above all, expression. Though Mozart's Don Giovanni and Hummel's Concerto for Trumpet are unequal in significance, it would be valuable to any interpretation of Hummel's concerto if the performer and audience acknowledge that the work is rhetorically and stylistically similar to Mozart's Don Giovanni.

胡麥爾(1778-1837)是一位奧地利鋼琴家、作曲家、教師及指揮家，生前與貝 多芬齊名，被譽爲是當時歐洲最重要的鋼琴作曲家之一。可是近代的學者和聽眾對他的評價甚低，認爲他的音樂作品守舊、媚俗、不能登大雅之堂。 / 本文借鑒胡麥爾創作時期的文化背景，重新評價這位被忽視的音樂家對於開 發十九世紀鋼琴音樂所作出的貢獻。十八世紀後期中產階級的興起令音樂會 不斷增加，鋼琴演奏家不但成爲音樂會中的主要角色，而且他們所演奏的 「流行音樂」對於後世鋼琴技巧及音樂創作的發展，有舉足輕重的影響。 / 胡麥爾的鋼琴作品顯露出嶄新的作曲手法，當中包括較自由的轉調和曲式結 構，以及特別的音形法等，均源自音樂會中常出現的即興演奏，亦即「幻想 曲風格」。胡麥爾在正統器樂體裁的語境中引入幻想曲的技法，展示出流行 曲風格與正統音樂的結合，並開創了混合體裁的先河。其中，幻想曲與奏鳴 曲的混合體裁，對於後世的浪漫派作曲家如簫邦和舒曼等的創作模式尤有啓發。 / Johann Nepomuk Hummel (1778-1837) was an Austrian pianist, composer,teacher, and conductor who was described in his time as one of Europe's greatestpianist-composers. However, his music has been neglected and underestimated inmodem times, and is not considered to have any lasting influence on later compositional developments in the 19th century. / The present study aims to demonstrate that, though identified as a conservative composer, Hummel played an important transitional role in the evolution between Classical and Romantic styles. I argue that the post-classicalpianism that he cultivated presaged many significant stylistic trends of later composers, and that these were stimulated by the rise of public concerts. The demand for virtuosic performances by middle-class concert audiences led pianistcomposers like Hummel to explore new modes of improvisation, which in turn had a profound impact not only on keyboard technique, but also on compositional practice. / A comprehensive study of Hummel's piano music reveals a new compositional practice featuring juxtaposition of different figurations, freedom of modulation, and new formal structures. The fantasy style derived from concert 11 improvisations came to be incorporated in different keyboard genres, resulting in generic mixture. In particular, the hybrid fantasy-sonata foreshadowed the later practice of Schumann and Chopin, and contributed towards the merging of serious and popular styles in Romantic piano music. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Kam, Cheok Weng. / "December 2011." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 160-174). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese. / List of Figures --- p.vii / List of Music Examples --- p.ix / Chapter Chapter One --- Introduction --- p.1 / Chapter Chapter Two --- Cultural Contexts for Hummel's Post-Classical Keyboard Style / The Rise of Public Concerts --- p.10 / The Development of Piano Music --- p.11 / Technical Innovations in Post-Classical Pianism --- p.12 / The Viennese Piano Style --- p.17 / The English Piano Style --- p.21 / Hummel's Keyboard Writing: Viennese Features --- p.28 / The Influence of the English Style --- p.31 / Legato Touch and the Chopin Style --- p.36 / Technical Innovations --- p.40 / Chapter Chapter Three --- Generic Transformation in Hummel's Piano Sonatas --- p.48 / The Keyboard Sonata in Hummel' s Time --- p.51 / Changing Approaches to Sonata Form --- p.56 / Hummel's Early Piano Sonatas --- p.61 / Sonata in F minor, Op. 20 --- p.67 / Sonata in C major, Op. 38 --- p.77 / Sonata in F-sharp minor, Op. 81 --- p.82 / Sonata in D major, Op. 106 --- p.93 / Chapter Chapter 4 --- The Evolution of Fantasias and Generic Innovations --- p.107 / Improvisation and Fantasy Style in the Eighteenth Century --- p.108 / The Eighteenth-Century Free Fantasia --- p.111 / Changing Conceptions of the Fantasy From C.P.E. Bach to Mozart --- p.118 / Changing Role of Improvisation in Performance Practice --- p.124 / From Harmonic Thinking to Thematic Thinking --- p.129 / Hurnmel's Fantasy Op. 18: The Fantasy-Sonata Hybrid --- p.134 / Chapter Chapter 5 --- Other Types of Generic Mixture Prompted by Fantasy Style --- p.141 / Generic Mixture with Theme and Variations --- p.142 / Caprices --- p.148 / Potpourri --- p.150 / Rondo --- p.152 / Chapter Chapter 6 --- Conclusion --- p.156 / Bibliography --- p.160

The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences. / School of Music

The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.

Background: There has been a noticeable growth in the use of sponsorships and corporate social responsibility in the world of professional sports, especially in football. This phenomenon is not particularly surprising given that modern companies are forced to compete for the attention of more socially conscious audiences. The socially responsible reputation of a firm may be significantly strengthened by incorporating CSR and CRM efforts. Audiences have shown to have a more positive opinion of these initiatives when they are implemented in the sports industry, often differentiating them from direct corporate marketing due to their perceived authenticity and compassion. Hummel's decision to tone down the Danish national team's kit for The 2022 FIFA World Cup in Qatar serves as a compelling example of cause-related marketing within the football industry.   Purpose: The development of an in-depth understanding of how online communities perceive the cause-related campaign executed by Hummel at The 2022 FIFA World Cup in Qatar. Method: Qualitative Research; Interpretivism; Methodology – Exploratory Case Study; Inductive Approach; Data Collection – Systematic; Sampling – Deliberate/Nonprobability Sampling; Data Analysis – Content Analysis (creation of tree-diagrams based on quotes, generic categories and main categories)  Conclusion: The authors have undertaken a comprehensive analysis of the findings derived from content analysis, establishing meaningful connections between these findings and relevant theories regarding cause-related marketing (CRM) and corporate social responsibility (CSR). As a result, this study makes a contribution to the scholarly understanding of the potential responses exhibited by online communities towards cause-related marketing campaigns. The findings of this study shed light on the diverse range of reactions that can be anticipated when a company chooses to engage in such sponsorship endeavors.

<p>The human glucose transporter GLUT1 facilitates glucose to be accumulated on the other side of the cell membrane. The functional state of GLUT1 is uncertain due to diversity of the reports. In this thesis, the activity of red blood cell GLUT1 was extensively studied to further characterize this protein.</p><p>The human red blood cell membranes were stripped to become vesicles with low-ionic alkaline solution in the presence or absence of dithioerithritol. The supernatant of partially solubilized membrane vesicles provided approximately 65% of the vesicle proteins. GLUT1 purified from this supernatant showed a little high-affinity cytochalasin B binding activity. On the other hand, the vesicles stripped with dithioerythritol provided mostly monomeric GLUT1 and those without dithioerythritol provided monomeric and oligomeric GLUT1. MALDI-ToF-MS detected variant GLUT1 fragments between the two preparations. Residual endogenous phospholipids per GLUT1 also showed difference. However, the equilibrium exchange of glucose was retained for both GLUT1 preparations. Cytochalasin B-binding activity of GLUT1 in streptoavidin-biotin-immobilized red blood cells showed that both dissociation constant and binding sites per GLUT1 fell between those of wheat germ lectin-immobilized red blood cells with or without polylysine coating, which indicated the switching of two cytochalasin B-binding states of GLUT1. It is concluded that GLUT1 in red blood cells contains approximately two equal portions, monomeric with high-affinity cytochalasin B-binding activity and oligomeric without high-affinity cytochalasin B-binding activity. In the partial solubilization of the membrane vesicles, GLUT1 which does not have high-affinity cytochalasin B-binding activity is pooled. This might provide a resolution to select oligomerically and functionally different GLUT1 for crystallization.</p><p>In addition a modified micro-Bradford assay with CaPE precipitation was developed to achieve a routine quantitation method for membrane proteins and the effects of cholesterol and PEG(5000)-DSPE on reconstituted GLUT1 were preliminarily determined.</p>