Ausgehend von einem ‚Close Reading’ der ersten Durchführung aus dem langsamen Satz von Johann Nepomuk Davids dritter Symphonie diskutiert der Beitrag Kontrapunktlehrwerke der 1930- und frühen 1940er-Jahre, um von dort her das Spielfeld von ‚Linearität' abzustecken, eines Begriffs, der aus der Theorie der Bildenden Kunst Mitte der 1910er-Jahre in musikgeschichtliche Diskurse wanderte, um sich um 1940 mit kämpferischem Ton zu rüsten.

Ett intensivt jordbruk anses leda till ett antal negativa miljöförändringar och mer miljövänliga jordbruksmetoder förespråkas av IPCC och IPBES varav skogsjordbruk är en metod som ses som ett hållbart alternativ. Det är en jordbruksmetod som hittills endast finns på få platser i Sverige, men som i andra delar av Europa och världen visat sig produktivt. Genom reflexiv diskursanalys avser denna studie undersöka konventionella jordbrukares och skogsjordbrukares upplevelse av sin verksamhet i förhållande till samhälle och miljö och deras syn på skogsjordbruk. Jordbrukare från respektive jordbrukstyp rekryterades för medverkan i separata fokusgrupper och ur dessa fokusgrupper valdes en jordbrukare ut för besök och deltagande observation. Båda jordbrukstyper såg sig som en del av naturen och visade omtanke för dess bevarande. De konventionella jordbrukarna såg sig som förvaltare av naturen och en viktig samhällsaktör med fokus på matproduktion och ekonomisk lönsamhet. Samtidigt kunde de konventionella jordbrukarna ses som både ofrivilligt låsta och försvarande en strömfåra - det etablerade industrisamhället. De ville förbättra miljön, men var fast i en ekonomisk cirkel. Skogsjordbrukarna fungerade som en kontrapunkt - en reaktion mot det etablerade jordbrukssystemet som de ansåg ohållbart. Istället ville de visa på ett alternativt samhälle och odlingssätt. Skogsjordbrukarna drevs av en vilja att förändra och ett ekologiskt fokus med en ekocentrisk och vid natursyn. Båda grupper menade att ett bättre bidragssystem skulle kunna leda till mer miljöarbete. / Intensified agriculture is considered as contributing to negative environmental changes. More positive methods of agriculture are advocated by IPCC and IPBES to halt these negative changes and agroforestry is one method that is considered as a sustainable alternative. Agroforestry as an agricultural method is only found in a few places in Sweden but is found in other parts of Europe and the world as a productive system with many environmental advantages. The purpose of this study was to examine what conventional farmers and agroforestry farmers thought about their work in relation to the environment and society and what their views were on agroforestry. Participants from the different methods were recruited to participate in separate focus groups and among these participants, one farmer from each method was recruited for participant observation. Both types of farmers had strong nature connectedness and cared about nature conservation. The conventional farmers saw themselves as stewards of nature and an important part of society that could work with the environment for food production and economic gain. At the same time, the conventional farmers could be seen as both involuntarily locked in and defending a mainstream - the established industrial society. They wanted to improve the environment but were stuck in an economic circle. The agroforestry farmers functioned as a counterpoint - a reaction against the established agricultural system which they considered unsustainable. Instead, they wanted to show an alternative society and way of farming. The agroforestry farmers were driven by a will to change and an ecological focus with an ecocentric and broader view of nature. Both groups believed that a better subsidy system could lead to more environmental work.

Der Beitrag diskutiert zunächst den Generalbasses als Notationsform oder ‚Aufschreibesystem‘ im musikgelehrten Diskurs in der Mitte des 18. Jahrhunderts. Dann wird seine Rolle in der Akkordbildungs- und Satzlehre in Joseph Riepels Anfangsgründen zur musicalischen Setzkunst untersucht. Riepel benutzt ihn als kombinatorisches Programm zur Bildung von Akkorden (in der Gründlichen Erklärung der Tonordnung insbesondere, 1757), nutzt sein Potential aber auch in Form von Sequenzmodellen bei seiner Überarbeitung von älteren Kontrapunktübungen nach Johann Joseph Fux und Meinrad Spieß. Generalbass dient ihm mithin als Medium theoretischer Reflexion wie auch einer modernisierenden Transformation des musikalischen Satzes. Für Riepel ist es typisch, dass mit kleinen versatilen Theoriesegmenten, ausgehend von Beispielen, arbeitet. Eine reduktive Theorie, die den Anspruch einer allgemeinen Gültigkeit haben soll, liegt ihm fern. Insofern spiegelt seine Art der Theoriebildung die Aufspaltung des Stilbegriffs nach 1750 in eine Vielzahl lokaler Praktiken. / The paper first discusses the thorough bass as a form of notation or operational writing technique (F. Kittler) in musicological discourse in the mid-18th century. Then, its role in chord formation and movement theory is examined in Joseph Riepel's Anfangsgründe zur musicalischen Setzkunst. Riepel uses it as a combinatorial program for the formation of chords (in the Gründliche Erklärung der Tonordnung insbesondere, 1757), but also exploits its potential in the form of sequence models in his revision of older counterpoint exercises after Johann Joseph Fux and Meinrad Spieß. Thorough bass thus serves him as a medium of theoretical reflection as well as a modernizing transformation of the musical movement. For Riepel it is typical to work with small versatile theory segments, starting from examples. A reductive theory, which should have the claim of a general validity, is far from him. In this respect, his way of theorizing reflects the splitting of the concept of style after 1750 into a multitude of local practices.

Das Credo aus Johann Nepomuk Davids Deutsche Messe von 1952 wird mit Blick auf das musikalische Handwerkszeug untersucht. Die Analyse zeigt einen abgezirkelten Bau der Komposition. Kontrapunktische Regeln halten David fest in einer als bindungslos empfundenen Zeit. Aus der Sicht eines „Enkelschülers“ Davids wird dies reflektiert als Fesselung einer Generation: Den Geburtsjahrgängen um 1900 wurde eine wesentliche kreative Lebensphase durch Diktatur und Krieg genommen. Die Besinnung auf alte Techniken aber wird zu einem Gefängnis der Kunstfertigkeit. Der kundige Musiktheoretiker David behindert den Komponisten David. / Das Credo from the Deutsche Messe of Johann Nepomuk David is scrutinized with regard to his compositional technique. The analysis reveals a calculated musical structure. The conventions of counterpoint trap David in a time seemingly unbound. From the view of one of David’s 'student’s students' this is expressed as a bondage of a generation: those born around 1900 were robbed of a significant part of their creative lives due to dictatorship and war. But his concentration on traditional techniques imprisoned him within his own workmanship. David’s theoretical expertise thus hinders David’s compositional ability.

This thesis deals with the development of methods for composition in Just Intonation (JI). The author (Gustav Spoormaker) has composed a three movement String Trio in Just Intonation largely based on the theoretical ideas of Harry Partch, Marc Sabat and Kristofer Svensson which incorporates influences from contemporary microtonal music, early western classical music, jazz, and various types of world and folk music. Established core concepts of Just Intonation are explained for the author to then present their own theoretical and aesthetic ideas based on their artistic work. These ideas mostly center around practical aspects of JI composition, through presenting tangible approaches to modality, harmony, and counterpoint with the goal of ensuring an artistic result that enables both performability (tuneability) and stylistic flexibility. Concrete examples from the author’s artistic work are brought up to illustrate these ideas. The artistic results of these methods are discussed as well as their practical implications for performance.

The thesis "J. S. Bach and His Piano Pieces for Music Art Schools" is focused on interpretation of the piano music of Johann Sebastian Bach. For the right understanding of the composer's musical narratives, it is necessary to acquire the basic knowledge and principles of the music theory in the Baroque era and to become familiar with the environment in which this extraordinary composer had been professionally developing and composing. This musician is presented here as the founder of a modern fingering whose musical language brought a change into musical thinking and he became inspiration and a role model for composers of the next centuries. This thesis highlights the importance of appropriately selected musical materials in piano teaching and it prefers the performance to be as authentic as possible. The main purpose of this paper is to update the knowledge of methodology and to find a comprehensive guide to a correct understanding of musical language of this genius that would help the music teachers introduce to pupils the beauty and timelessness of Bach's musical work and that would motivate them to other musical discoveries and make them desire to be further educated in music.