Although Schoenberg viewed his twelve-tone method as an extension of the Germanic musical evolution from Bach to Brahms, one group of writers in America identified twelve-tone antecedents with Medieval and Renaissance polyphony. Such a correlation of Schoenberg's practice with this textural orientation of the past was part of a larger movement (what I term "neopolyphony") recognizing twentieth-century musical developments as the genesis of a polyphonic epoch reviving both the technical and aesthetic concerns of the former era. With Schoenberg's practice applied to this analogical context, other writers (Hill, Krenek, Perle) advanced certain modal theories based in various degrees on the internal organization and functional role of the Church modes.

The IT industry is constantly evolving and it's more or less a requirement today for web developers to be familiar with and to be able to develop for all platforms. A technique that has taken hold and is now widely used is responsive design. Developing responsive design means adapting the layout to the viewing environment; the screen size. Another useful method when developing for different devices is the mobile first theory, which means developing for the mobile screen first. This is done to scale down the site and to clear unnecessary information in order to provide a better user experience. In this work we have developed a new design for the site greenb.se, using the mobile first theory to create a responsive website.

The thesis introduces perception of guilt and sin in the Bible, in Christian tradition and in contemporary moral theology. It emphasizes that in the mentioned periods both phenomena belonged in the common talk and to the elemental moral concepts. It deals with perception of guilt (sin) and forgiveness at present and it does not omit the findings of empirical sciences. It takes into consideration the facts which led to the loss or deformation of awareness of both phenomena in the society in general. In practice it conducts the survey of the possible idea of the contemporary state of awareness of guilt and forgiveness and relates it to the specific group of Anonymous Alcoholics.

Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.

Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic repetition." This analysis of Op. 34 demonstrates how the enlargement of a surface motive facilitates an understanding of the relation between the parts and the whole, which is perceived as the totality of Gedanke.

This thesis centers around a certain twentieth-century compositionaI device, the method of composition with twelve tones. There are many terms to designate this device, for example: "basic set," "tone-row," "note-series," "serialism," "serial technique," "twelve-note series," "twelve-tone technique" or "twelve-tone method." TI is thesis is a methodical research demonstrating the contemporary conventional way of scientifically and artfully manipulating twelve equal tempered degrees of the chromatic scale to produce a desirable system. In order to arrive at any substantial conclusions, it is necessary to make a critical examination and evaluation of known twelve-tone compositional procedures from as many angles as possible, so as virtually to exhaust every practical and speculative potentiality included in the technique, that is, within the range and limits of our present needs. This examination and evaluation will also involve a comparative investigation of various uses of the device, in order to produce and suggest ideas for further theoretical insights. The ultimate purpose of this thesis is to pinpoint the "hows" and "whys" of Rochberg's use of the twelve equal tones in Sonata-Fantasia.

此論文旨在探究對稱技巧在十二音創作概念與實踐之間的關係。前者抽象、後者具體。我先在第一章指出十二音系統内的對稱潛質，再在其後兩章分析對稱技巧在荀白克的《摩西與亞倫》及魏本的交響曲作品21第二樂章内的展現。荀白克“音樂意念及“發展變奏這兩個概念，在《摩西與亞倫》扮演着重要的角式，大大影響了作品内對稱的處理；而魏本對音樂的“一體性“及“可瞭解性“的堅持，亦決定了交響曲第二樂章中對稱的演譯。最後一章總括十二音作曲概念及實踐的關係，並展望日後的研究方向。 / Through an analytical study of Schoenberg’s Moses und Aron and Webern’s Symphony Op.21, second movement, my thesis aims at exploring a central issue in interpreting symmetry in twelve-tone music: the relationship between abstract conception and concrete realization. / In Chapter one, I endeavour to contextualize the uses of symmetry in twelve-tone music within contemporary theoretical perspectives. After defining my methodology, subsequent chapters are analytical examinations of two pieces. Chapter two explores how Schoenberg’s uses of symmetry in the opening of Moses und Aron might be closely associated with his conception of “idea and “developing variation. Chapter three considers the ways in which the symmetrical manifestations in Webern’s variation movement demonstrate his concern for “unity and “comprehensibility. After studying the two composers’ different symmetrical treatments Chapter 4 revisits the relationship between abstract conception and concrete realization in twelve-tone composition, and suggests implications for further research. / Detailed summary in vernacular field only. / Liu, Man Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgements --- p.iii / List of Figures --- p.vi / List of Music Examples --- p.viii / Chapter Chapter 1 --- Abstract Conception versus Concrete Realization in Twelve-Tone Music --- p.1 / The Twelve-Tone System and its Symmetrical Potentials --- p.5 / Methodology, Selection of Pieces and Overview of Chapters --- p.8 / Chapter Chapter 2 --- Schoenberg’s "Idea" and Twelve-Tone Symmetry --- p.11 / Compositional Concerns / Row Design, Motive, Developing Variation and "Idea" --- p.14 / Moses und Aron: The Idea of God and the Twelve-Tone System --- p.20 / Pre-Compositional Plan / Schoenberg’s Divine Order --- p.28 / Compositional Practice / Realization of Unimaginable God --- p.33 / Realizations of Basic Set (P₉) and its Inversion (I₀) --- p.38 / Implications: Manifestation of Divine Order --- p.44 / First "Image": Musical Representation of the Row by Aron --- p.47 / Second "Image": Musical Representation of God by Aron in the Golden Calf scene --- p.53 / Schoenberg’s Allegory: Irreconcilability in Realizing "Idea" --- p.58 / Chapter Chapter 3 --- Webern’s Variationen and Twelve-Tone Symmetry --- p.64 / Compositional Concerns / Webern and Symmetry --- p.69 / Analytical Perspectives on Symphony Op.21, Second movement --- p.70 / Pre-Compositional Plan / Webern’s Statement on Symphony Op.21, Second movement --- p.73 / Compositional Practice / Thema --- p.77 / Variation I --- p.81 / Variation II --- p.85 / Variation III --- p.92 / Variation IV --- p.96 / Variation V --- p.101 / Variation VI --- p.105 / Variation VII --- p.107 / Coda --- p.110 / Summary --- p.112 / Chapter Chapter 4 --- Epilogue --- p.115 / Pre-Compositional Row Designs --- p.116 / Presentations of Rows in Their Music --- p.116 / Implications for Further Research --- p.119 / Select Bibliography --- p.121

<div>Cognitive agent architectures embed social learning algorithms and normative frameworks for adopting others’ influenced goals. However, there exists inefficiency in providing continuous, situational decision-making to emerge social, altruistic norms. The thesis reconstructs social-ecological learning mechanisms to functionally and efficiently internalize situational cooperation. By orienting agents to be self-aware of their three-dimensional vectors, i.e., physical, emotional and intellectual in graphical representations, this thesis hypothesizes the parsimonious, action-predictive four emotions that not only link perceptions, action, and cognition by events but also the emotional continuity functional to social-ecological rationality of agents in continuum. Twelve Meridian system is employed to conceptualize the equalizing, complementary, heuristic orientation (ECHO) model. ECHO simulates “naturalistic” cooperation to model embodied, social-ecological orientations by self-organizing emotions to emerge functional social network formations. ECHO delineates the soma links to perceptions, namely Twelve Meridian channels as “direct pipes” that initiates and conduct emotions and consciousness of three dimensional agenthood: physical, emotional, and intellectual desires. ECHO reconstructs emotions as entities to induce systemic, self-organized rule of delegation by integrating agents’ percepts and actuations. By modeling constitutional emotions and consciousness of eight entities, emotions within entities as “individualized emotional processors,” are constructing and integrating purposeful social, altruistic events for the efficacy of situated agents.<br></div>

A chamada regra do usus auctoritas, presente na Lei das XII tábuas, é apontada, desde Cujácio (séc. XVI), e daí em diante por muitos juristas, como sendo uma antiga norma sobre a garantia do vendedor por meio de negócio formal, mancipatio em caso de evicção; o próprio sentido do vocábulo auctoritas seria «garantia», ou mesmo «dever de prestar garantia», neste caso particular inseparável da mancipatio. Mas o fragmento que traz essa regra USUS AUCTORITAS FUNDI BIENNIUM EST[O] nos foi transmitido por Cícero e (embora de forma já interpretada) Gaio; e estes a consideram uma espécie de antiga norma a respeito do usucapião (inicialmente apenas de imóveis). Outros juristas antigos e contemporâneos seguiram, em parte, essa interpretação original. O trabalho pretende trazer novos argumentos em favor dessa exegese natural de Cícero e Gaio no sentido de que a dita regra versa sobre usucapião, mais especificamente sobre uma sua forma arcaica e bastante peculiar. Investiga-se o surgimento da propriedade imobiliária em Roma e suas peculiaridades: o sistema augural, quase religioso, de limitação do solo destinado, no início, a todo cidadão romano, conferido por meio de atos de adsignatio (concessão) pelo «estado» em formação, que detinha a auctoritas ou poder; a passagem da soberania das gentes pré-romanas aos Quirites; a gradual privatização a atribuição dessa auctoritas coletiva e diretamente quiritária ao proprietário dessas parcelas de terra e a fragmentação do solo pelo direito privado regulado pela Lei das XII tábuas, que confere autonomia (a auctoritas ou título) aos indíviduos e suas famílias. Acrescenta-se uma breve análise lógica da regra e uma tentativa de a inserir no esquema geral do usucapião moderno. / The usus auctoritas rule from the Twelve Tables was conceived by Jacques Cujas (16th century AD), and many authors thereafter, as an ancient norm that established a warranty against eviction granted by the seller when transferring the ownership of the thing to the buyer through the performance of mancipatio. According to this view, the very word auctoritas is taken to mean warranty, or else to imply an obligation to give warranty, and is intrinsically associated with mancipatio. But the fragment of the sources that state this rule USUS AUCTORITAS FUNDI BIENNIUM EST[O] were brough to us by Cicero and Gaius (the latter in the form of an interpretation of the norm), and both consider it to be an ancient Roman disposition that originally dealt with usucaption of immovable property only. To a certain extent, various ancient and modern jurists accept the latter interpretation. The object of this thesis is to provide new arguments to support the more natural interpretation adopted by Cicero and Gaius, i.e., that the rule in question deals specifically with an archaic and peculiar form of usucapio. The present work analyzes the emergence of private ownership of immovable property in Rome and its peculiarities: the quasi-religious augural system of land apportionment adopted by the fledging Roman state to assign a lot of land to every Roman citizen through the performance of acts of adsignatio (allotment); the sovereignty transferred by the pre-Roman gentes to the Quirites; the process by which land plots were gradually privatized and landowners acquired this once collective and quiritarian auctoritas, and the resulting land apportionment caused by the application of rules of private law based on the Twelve Tables conferring autonomy (auctoritas or title) to individuals and their families. In the final lines, an attempt is made to provide a logical analysis of the rule and to place it within the general conceptual framework of modern usucaption.

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