Thesis (Ph. D.)--Columbia University, 1915. / Errata leaf inserted between p. 234 and 235. Vita. Bibliography: p. 211-234.

Zugl.: Mainz, Univ., Magisterarbeit, 2003

Zugl.: Freiburg, Univ., Diss., 2003

Universiẗat, Diss., 2002--Bonn.

Universiẗat, Diss., 1998--Mainz.

Premiered on November 1st 2016, Steve Reich’s new work Pulse: For Winds, Strings, Piano and Electric Bass epitomizes 51 years of compositional development. Understandably, no formal or analytical discussions exist of this work, a lacuna that inspires the present research questions: Where does Pulse fall in relation to Reich’s overall style and technique? Is it a logical continuation of his compositional evolution? Does it make use of the techniques that distinguish him or does it venture into new territories? To answer these questions, the thesis combines a historical survey of Reich’s compositional output with an analysis of Pulse that considers current analytic scholarship. An overview of the literature on the composer serves to determine the separate compositional periods of his output in relation to his most employed techniques. This amalgamation allows for a historically and stylistically contextualized analysis of Pulse. The resulting synthesis not only creates a new categorization of Reich’s compositional development, but also shows that Pulse embodies a summation of the composer’s musical technique.

The goal of this thesis is to find out if racial and antisemitic propaganda had an impact on Czech people. This goal was realised on antisemitic programmes which were aired in Český rozhlas during the years 1938- 1945. Then I made interviews with people who lived during Protectorate Bohemia and Moravia and who already participated on my previous research. The interviews helped to find out whether the antisemitic propaganda had any impact on the people and if it had, to what extent.

No description available.

Freie Univ., Habil.-Schr.--Berlin, 2004.

Univ., Diss.--Duisburg, 2002.