Diss.--Tübingen, 2001--Eberhard-Karls-Univ. / Sources et bibliogr. p. 181-192. Index.

Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007. / "A dissertation in performance." Typescript. Advisor: William A. Everett. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 08, 2008 Includes bibliographical references (leaves 123-136). Online version of the print edition.

Inaug.-Diss.--Munich. / Lebenslauf. "Literatur": p. 93-94.

Universiẗat, Diss., 1979--Köln.

Thesis (doctoral)--Universität Wien, 2006. / Includes bibliographical references (p. 279-292).

El presente trabajo explora las características con las que Immanuel Kant determina qué es el sentimiento de lo bello experimentado en la naturaleza y en  el arte. Tomando como punto de partida algunos elementos del surgimiento  de la Estética en el siglo XVIII, se concentra en el estudio del trabajo artístico y  muestra cómo el proceso creativo del artista se fundamenta en la producción y  no en la reproducción mimética de la naturaleza. Con el propósito de explicar  este tránsito, se revisan las reflexiones de uno de los antecesores de Kant: Moses Mendelssohn. Además, se señala cómo ambos pensadores divergen  en sus teorías estéticas a pesar de que ambos concuerdan en rechazar la mímesis como principio de la producción artística. Finalmente, se determina  la experiencia de lo bello como la complacencia en la conformidad a fin sin  fin en el que se reproduce el libre juego de las facultades de imaginación y  entendimiento, y se atribuye al genio del artista el singular talento de adecuar  su obrar en función a dicho juego.

No description available.

The lecture recital was given on April 18, 1974. Some Mendelssohn organ works in manuscript were performed during the lecture to illustrate Mendelssohn's indebtedness to baroque models and his evolution as an organ composer.

The unpublished concert aria, "Ch'io t'abbandono," by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer's developing musical aesthetic. In this study, Mendelssohn's education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece's composition and also the reasons it was not published during Mendelssohn's lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers of the piece, Franz Hauser and Eduard Devrient, leads to further discussion about the nature of the work as both a reflection of Mendelssohn's romantic self-expression and his appreciation for the Baroque melismatic style. The significance of the aria, both stylistic and biographical, is further delineated by a presentation of possible motivations for its composition. The musical setting of the text, as well as the text itself, indicates both Mendelssohn's awareness of himself as a maturing adolescent composer and his desire to be a composer of operatic works, a desire that was never fully realized.

Rezension des Werkes F. Mendel'son-Bartol'di i tradicii muzykal'nogo professionalizma, hrsg. von Grigorii I. Ganzburg, erschienen 1995 in Charkov