Inaug.-diss.--Tübingen. / Lebenslauf. "Literaturnachweis": p. vi-viii.

Thesis--Bonn. / Cover title. Vita: p. [64]-65. Includes bibliographical references (p. v).

Inaug.-diss.--Halle. / Vita. Another ed. published as a part of the author's memoir "Der kausalbegriff in der neueren philosophie und in den naturwissenschaften von Hume bis Robert Mayer" in: "Vierteljahrsschrift für wissenschaftliche philosophie, 24.-25. jahrgang, 1900-01."

Thesis (Ph. D.)--University of Wisconsin, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis (M.A.)--Memorial University of Newfoundland, 2004. / Bibliography: leaves 93-103.

Diss.--Universität Bremen, 1995. / Bibliogr. p. 605-623. Index.

Post-minimalist American composer Julius Eastman's residency at Northwestern University in 1980 provides a rare opportunity to mitigate, if not eliminate, the problems involved in defining his compositional style. Eastman occupies a complex and unlikely position in late twentieth-century music as an openly gay, African-American composer of serious art music who both a member of the Creative Associates at SUNY Buffalo as well as participated in the diverse musical culture of Downtown New York. Eastman's surviving scores are notated in a fragmentary and idiosyncratic fashion and the composer's outrageous personality left few people with whom he worked closely or on a regular basis. However, scores of three of Eastman's works survive. Crazy Nigger, Evil Nigger, and Gay Guerilla were performed on January 16, 1980, as the culmination of Eastman's residency at Northwestern. Eastman's use of inflammatory was influenced by the political timeframe of their composition, particularly black cultural narratives and the state of gay rights conflict in the era between Stonewall and the AIDS crisis. Drawing upon newspaper reports, early scholarship on Eastman's biography, and interviews with concert participants, this thesis documents the rehearsal process and the controversy surrounding the titles of the works. For Members Only, the black student organization at Northwestern, protested advertisements of the concert in the midst of their own conflict with the student government. A viable analytical framework for Eastman's works draws from the techniques of earlier minimalist theorists, including John Roeder's adaptation of set theory. Crazy Nigger, the earliest and longest of the three works, provides to be the least complex example of Eastman's "vertically additive process." Whereas composer Philip Glass extends an original melodic kernel by adding notes horizontally, Eastman adds notes vertically to create increasingly dense textures. Evil Nigger's use of the process is more complicated, introducing additional elements such as ostinati and de-emphasizing the kind of sectional form found in Crazy Nigger. In Gay Guerilla, the last of the three works to be composed, Eastman totally obscured any salient perception of form by eliding several simultaneous occurrences of the vertically additive process and introducing a quotation of the Lutheran chorale "Ein feste Burg." With these three analysis, a more generalized concept of Eastman's compositional style thus consists of his vertically additive process, the introduction of modernist harmony into minimalist technique, the use of hendecachords (11-note sets), a gradual dissolution with the sectional form dominant in concert-length minimalist works, and a move away from post-modernity that Eastman termed "organic music."

The objective of this dissertation is to review the discrepancies between the first edition, Stradal’s edition and Marzocchi’s edition of Reubke’s piano sonata, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as fingerings, pedaling, phrasing, tempo markings is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Detailed assessment of these discrepancies, accompanied by the author’s comments are listed in the comprehensive comparison table in Appendix A. Additionally, directions are given in cases of presumptive errors, and discrepancies are addressed with possible variant solutions. In conclusion, the relative merit of the three editions is assessed in Chapter 4.

No description available.

Jaunosios kartos rašytojų kunigo pamokslininko Juliaus Sasnausko ir pasaulietės Giedrės Kazlauskaitės kūrybos semantinį ir įdėjinį lauką padeda suprasti teologinės literatūros ir literatūrinės teologijos sąveika. Teologinių prasmių paieška jų tekstuose atliepia šiuolaikinio žmogaus pastangas per literatūrą, skelbiančią gyvenamojo laikotarpio aktualijas, rasti kelią į tam tikras krikščioniškąsias tiesas ir bandyti reflektuoti savo tikėjimą bei analizuoti išganymo istoriją. Autorių kūryoje religinė patirtis atsiskleidžia eseistiniu svarstymu – užuominomis ir tiesioginėmis įžvalgomis apie šiuolaikinio žmogaus kelią į tikėjimą, konkretybėmis ir abstrakčiais ženklais, liudijančiais mitinę atmintį, Kristaus kančios kelio prasmę. Pasitelkdami pamokslo žanro ypatybėmis, jie eina dviem kryptimis – dėlioja įvairius jiems žinomus elementus, t.y., Evangelijoje aprašytus Kristaus kelio etapus, bet tuo tarpu, religinę patirtį kurdami patys iš savęs, t.y., atlaidesniu tikinčiojo žvilgsniu žvelgdami į supantį pasaulį ir bandydami rasti auksinę ribą, kuri leistų jiems pateisinti save ir kitus, vertus Dieviškojo atleidimo. Šio darbo objektas – dviejų jaunosios kartos rašytojų (J. Sasnausko ir G. Kazlauskaitės) tekstai, paimti iš trijų knygų: „Malonės akrobatika“, „Aštuntoji diena“, „Postilės“. Šie tekstai pasaulietiškai realizuoja tai, ką religinė kalba nurodo užkoduotai ir labiau panėšėja ne į argumentacinę, bet į poetinę esė su pasakojimo elementais, siekiančią ne nukreipti skaitytojo... [toliau žr. visą tekstą] / The semantic and ideological scope in the works of the writers of young generation the preacher Julius Sasnauskas and the secular writer Giedre Kazlauskaite is easier to understand using correlation between theological literature and literary theology. A search for theological meanings in their texts responds to the modern human’s efforts to find the way towards some Christian truths and try to reflect his belief and analyze the history of salvation through literature declaring actualities of the contemporary period. The issue of the paper is to reveal how literature exploring real and transcendental entity of the whole world correlates with theology and forms of its expression and how the essays of theological and secular nature merge in the texts of G. Kazlauskaite and J. Sasnauskas. In their works the authors reveal religious experience through essayistic consideration, i.e. through hints and direct insights concerning the modern human‘s way towards belief in specific and abstract signs witnessing mythical memory and sense of the way of the Christ‘s torment. Using peculiarities of the sermon genre they go in two directions; they put various familiar elements, i.e. the stages of Christ‘s way described in the Gospel but at the same time creating from their own sources, i.e. looking at the surrounding world with more forgiving sight of the believer and trying to find the golden limit allowing to justify themselves and others, those who deserve the divine forgiveness. ... [to full text]