Das Thema dieses langsamen Satzes ist asymmetrisch: Sein Nachsatz ist doppelt so lang wie sein Vordersatz. Eine genetisch-rekonstruktive Analyse zeigt den Nachsatz als Auskomponierung einer Mittelgrundstruktur, die auch in auskomponiertem Zustand nicht mehr als vier Takte zu messen bräuchte. Diese Deutung allerdings besagt nichts über die innerkompositorischen Gründe der besagten Asymmetrie – eine explanatorische Lücke, die der vorliegende Beitrag durch eine quasi Schönberg’sche Deutung des strukturanalytischen Befundes zu füllen sucht: Der Vordersatz des Mozart’schen Themas enthält einen verborgenen dreistimmigen Kanon. Eine Stimme dieses Kanons bricht vorzeitig ab. Der erste Melodieton des Nachsatzes reagiert auf diese Störung, indem er die letzte stehengelassene Tonhöhe dieser Stimme aufgreift. Dies aber erzeugt eine neuerliche Störung, die hinreichend auszubalancieren voller acht Takte bedarf. / The theme of this slow movement is asymmetrical: its consequent is twice as long as its antecedent. A genetic-reconstructive analysis reveals the consequent to be a composing-out of a middle-ground structure that would need not measure more than four bars when fully composed. This interpretation, however, says nothing about the true compositional reasons for the asymmetry in question. The present contribution attempts to fill this explanatory gap using a quasi-Schoenbergian interpretation of the analyzed structure: the opening movement of Mozart's theme contains a hidden three-part canon, except that one voice of this canon breaks off prematurely. The first melody tone of the consequent reacts to this disturbance by picking up where the other voice left off. This, however, creates a new disturbance that requires eight bars to be sufficiently balanced.

In Verbindung mit der Juxtaposition der Tonarten E- und G-Dur wird die Urlinie über ihre Funktion als struktureller Hintergrund hinaus hinsichtlich ihrer Bedeutung für eine hermeneutische Interpretation diskutiert. Daran schließen sich Beobachtungen zum Verhältnis zwischen Text und Musik in Schuberts Komposition an. / In this article the Urlinie is discussed in connection with the juxtaposition of keys E major and G major. The discussion goes above and beyond the Urlinie’s function as structural background in order to address its significance for hermeneutical interpretation. Observations regarding the relationship between text and music in Schubert follow.

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<p>This thesis analysis four different sides of policy-making on EU-level: the Cardiff process, the white paper “European transport policy for 2010: time to decide”, the sixth Environmental Action Programme and the Sustainable Development Strategy. In those documents measures proposed for the freight transport sector are identified and used for interviews with key persons at Schenker AG. The aim with the interviews was to examine how Schenker AG was affected and felt committed by the proposed political measures. Following the arguments above the thesis discusses the role of Schenker AG in a society characterized by ecological modernization.</p>

This thesis analysis four different sides of policy-making on EU-level: the Cardiff process, the white paper “European transport policy for 2010: time to decide”, the sixth Environmental Action Programme and the Sustainable Development Strategy. In those documents measures proposed for the freight transport sector are identified and used for interviews with key persons at Schenker AG. The aim with the interviews was to examine how Schenker AG was affected and felt committed by the proposed political measures. Following the arguments above the thesis discusses the role of Schenker AG in a society characterized by ecological modernization.

For the centuries, the old Silk routes in hinterland Eurasia were connecting the Eastern and Western empires and served as a channel for exchange of goods and ideas between the two different worlds. Over the past decades, the international trade between Europe and Asia has rapidly increased and reflected more than 10 million TEU transported by container ships annually. As far as the silk, spice and other traditional goods have been gradually replaced by laptops, tablets and car components, the new transport solutions have been tested to meet the altering nature of logistic demands. Nowadays, the company DB Schenker Rail is the European leader in the rail freight market and needs to sustain the leading position. However, DB Schenker Rail attempts to be not only the best choice on European rail, but further with the first pioneer back and forth rail freight activities between Europe and Asia tries to capitalize on the new business opportunities. On that account the company has raised the question: What are the rail freight customer needs today and what he will need tomorrow in relation to the logistic processes between Europe and Asia? As a result, several customer tailored logistic solutions have been described to meet the altering nature of rail freight demands.

Different sections or movements of a piece are associated with each other and contain the composer essential thought. A vague affinity of mood and a resembling theme or form testifies to the relationship. However, the evidence is insufficient to reveal the unification of the different sections or movements since these are under restraint of external music proofs. In order to figure out the relationship, thus, identical musical substance should be discovered. In the study the substantial evidence, which can be called unity or unification, is mainly discussed. The unity is illustrated with Brahms's Horn Trio, Op.40 that is one of the Brahms's significant works. The unity found in the Horn Trio is based on the internal structure and structural voice-leading notes. The unity in the Horn Trio is the fundamental structural unity that is divided into initial ascent and voice exchange, and fundamental voice-leading motive. The fundamental unity seriously affects the master piece and penetrates the movements as a whole. Further, it reveals the hidden connections to the historical background of the Horn Trio and the philosophy of Brahms for the music. Even though a piece consists of several sections or movements, the entire piece presents homogeneity. The identity of the composer's underlying philosophical thought suffices to discern the musical unity in a piece. Thus, the investigation of unity is one of the critical ways to understand not merely a piece but also the philosophy of a composer. The study will help to enhance the audience's interpretation of music.

The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the radio.

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