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Die Künstlerin Channa Horwitz (1932–2013, Los Angeles) wurde vor allem durch ihre komplexen Notationssysteme bekannt. Ihre Werke werden häufig im Spannungsfeld der Minimal Art und der Conceptual Art verortet. Die von ihr verwendeten Medien erstrecken sich über Zeichnungen, Installationen bis zu Performances. Horwitz arbeitet mittels dieser unterschiedlichen Darstellungsmodi an einer universellen Sprache, die von anderen künstlerischen Disziplinen als Anleitung interpretiert und somit in Tanz, Lyrik, Musik oder in eine Installation umgesetzt werden können. Das wichtigste Motiv ihrer künstlerischen Arbeit ist das Aufzeichnen von Bewegung innerhalb eines Zeitraumes. Hierzu entwickelt Sie verschiedene Spielarten, die Horwitz häufig in Buchform herausgibt. Der Akt des Aufschlagens und des Umblätterns eröffnen der Künstlerin neue Möglichkeiten, über die Präsentation ihrer Notationen nachzudenken. Der Beitrag geht der Frage nach, welche Konsequenz das Format des Leporellos für Horwitz’ künstlerische Praxis hat und wie ihre Notationen durch das Format archiviert werden.

This diploma thesis focuses on business process modeling. The main theme is the use of business process modeling as a tool to increase business efficiency. The first part of the thesis provides a theoretical framework of process management and process modeling, in the context of both historical development and the latest trends. In the second part has been identified inefficiencies in the current process setup and several changes was suggested. The models were developed in accordance with the International Business Process Model and Notation (BPMN) standard. Models were created in Bizagi Modeler. The result of this diploma thesis is optimized processes and proposals for their implementation in a particular company.

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Iconographs is such a composition in which mathematical techniques are brought to bear. Nine separate number series have been generated and carried out to 1024 units. These series are combined by addition to calculate a single number by taking the remainder after dividing the sum of the series by nine. This mod 9 reduction is used to choose a set of pitches. Iconographs is a composition for microcomputer and chamber orchestra written in proportional notation with 1024 time segments grouped into 32 pages of 32 time segments each. The duration for each segment is .618034 seconds, which is the Golden Mean of one second, represented in a horizontal space of .34375 inches. The horizontal space/time-frame proportion is consistent but the actual duration of sounds are only approximate. The duration of the entire composition is 10.54778 minutes with a total horizontal space of 352 inches. The structure of the composition as a whole has no relationship to any of the traditional forms does contain a focus of formal structure at time-frame number 632, the Golden Mean. This focus is expressed by a density of sound events in all parts.

In musical environments, the human voice is entangled in a number of structural, conceptual and cultural frameworks that enable it to convey a multiplicity of meanings. In the discussion of musical globalisation, vocal music takes a particularly important role, since this versatility allows for both cultural rapprochement or hybridity as well as the reinforcement of local, regional, and national identities. This article introduces a first approach to an analytical framework for an intercultural history and analytical methodology of vocal music based on comparative studies of both traditional and contemporary works and genres and their construction of musical meaning. The articulation of the voice, conceived here as a multifarious passage between speech and song, is discussed in three major sections: »mapping«, »fragmentation and montage«, and »aesthetics of presence«. First, the plausibility and limitations of classification systems for spoken/ sung vocal styles (as developed by George List and Kenji Hirano, among others) and their application as tools for a comparison of culturally and historically diverse »voices« are examined. A closer analysis of the vocal style gidayū-bushi reveals a highly »fragmented« vocal microstructure based on a minute theoretical conception of delivery techniques, held together by the unique timbre of the recitor. Connections between Chinese jingju (Peking Opera) and Tan Dun’s »vocal calligraphy« as well as the controversial discussions on the vocal part in Schoenberg’s Pierrot Lunaire are reviewed to imply that these vocal styles, too, can be conceived of as multiply fragmented, as microstructural »montages« that (intentionally or not) place much responsibility on the agency of the vocal performer. A comparable influence of the performer can be observed in recent Japanese vocal music that evokes the archaic power of single words or phonems (Hifumi Shimoyama, Y şji Takahashi). The high degree of articulatory differentiation closely connected to unique features of the Japanese language (including specific regional forms) found in these works is finally connected to the theory of recitative around 1600 based on a similar conception of the Italian language (Jacopo Peri, Giulio Caccini) and to its reception in Salvatore Sciarrino’s unique form of vocal writing that the composer has termed »sillabazione scivolata« [gliding syllable articulation]. These diverse case studies suggest that intercultural history and analysis of vocal music must take into account the major role of the vocal performer and its complex interaction with musical texts and aural traditions in both contemporary and traditional contexts. It can be further argued that vocal music generally tends to represent Roland Barthes’ concept of »genosong«, a kind of singing that originates from the »materiality of language«. A comprehensive theory of vocal music, finally, can neither be reduced to the discussion of its encoding by notation, nor to its performative act, but rather has to consider cultural memory and reception processes as key contexts of a cultural »codification« that produces meaning. Such a broad perspective has to consider prominently intercultural passages such as those introduced in this essay.