Diss.--Universität Freiburg (Breisgau), 1990.

Zugl.: Frankfurt (Main), Univ., Diss., 2008 u.d.T.: Jacobs, Rüdiger: Meine Sache ist: Revolution zu machen

Thesis (Ph.D.)--University of Wisconsin--Madison, 2009. / Advisor: Jeanne Swack. Includes bibliographical references (p. 299-311).

Thesis (Ph. D.)--Columbia University, 1917. / Vita. Published also without thesis note. Includes bibliographical references (p. 97).

Tesis para optar al grado de Magister en Filosofía mención en Axiología y Filosofía Política.

The purpose of this thesis is to present a context and background to thepractical design aspect of my work. I considered this project to be anexperiential journey in search of a way to make Wagner's Parsifal relevantand interesting in relation to my own life and personal sensibilities. My aimwas to use the music as my guide and my hope was to reach a scenographicsolution by following my intuition. This project has been an important step inmy development as an artist and designer and I feel it has strengthened thebond between my conscious and subconscious mind, giving me theconfidence to trust my feelings and harness them to come up with innovativeinterpretations translated into inventive designs

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2015. / Made available in DSpace on 2016-05-24T17:47:51Z (GMT). No. of bitstreams: 1 339031.pdf: 8564932 bytes, checksum: 08c6dfc4a5b786188bdfb01c8e114313 (MD5) Previous issue date: 2015 / A proposta desta pesquisa é contribuir para uma melhor compreensão da trajetória histórica dos grupos Jê Meridionais em Santa Catarina a partir da realização de pesquisas no município de Alfredo Wagner. Para tanto, realizamos uma revisão na literatura arqueológica, antropológica e etnohistórica sobre os grupos Jê Meridionais, bem como desenvolvemos prospecções e escavações em campo, além de análises tecnológicas de vestígios líticos e cerâmicos. Neste texto apresentamos de forma inédita os resultados obtidos nas pesquisas realizadas no sítio Tobias Wagner, contexto composto por estruturas subterrâneas, localizado em Lomba Alta. Através dos dados obtidos e das informações compiladas, refletimos e problematizamos a ocupação Jê Meridional sob uma perspectiva diacrônica e em diferentes escalas: intrasitio, local, microrregional e regional. Devemos ressaltar que este estudo foi conduzido sob um enfoque que visa compreender as populações indígenas enquanto sujeitos históricos plenos, agentes de sua própria história, e que acreditamos que a trajetória histórica delas decorre de relações específicas estabelecidas com e em um determinado território. Neste sentido, apresentamos sugestões sobre o processo de ocupação Jê Meridional a partir da proposta de Zedeño (1997; 2008) acerca da história de formação territorial, bem como segundo as compreensões de Braudel ([1958] 2009) e de Sahlins ([1985] 1999) no que remete aos conceitos de duração e de mudança, e, ainda, conforme os entendimentos de Barth ([1969] 1998) sobre fronteiras sociais e grupos étnicos.<br> / Abstract : The proposal of this research is to contribute for a better comprehension of Southern Jê groups historic trajectory in Santa Catarina by means of researches in the city of Alfredo Wagner. Therefore, we engaged a revision on archaeological, anthropologic and ethnohistoric literature on these Southern Jê groups, as well as we developed archaeological prospections and excavation, and then technologic analysis on lithic and ceramic vestiges. In this text, we present in a inedited way the results of these researches placed at Tobias Wagner archaeological site, a context composed by pit houses, nestled in Lomba Alta. Using the dates and information compiled, we reflected and rendered problematic on the Southern Jê occupation in a diachronic perspective and in different ways: intrasite, local, microregional, and regional scales. We shall emphasize that this study was directed using an approach that aims to comprehend indigenous population as complete historic people, agents of their own history, and that we believe these historic trajectories are originated from specific relations established with and at a determined territory. In this way, we present suggestions about the Southern Jê occupation process by means of Zedeño?s proposal (1997; 2008) on the history of territorial formation, as well as on Braudel?s ([1958] 2009) and Sahlins? ([1985] 1999) comprehensions on what concerns the concepts of duration and change, and yet, on Barth?s ([1969] 1998) perceptions about social frontiers and ethnic groups.

The fact that a number of pianists of the past two centuries adapted, embellished, and rearranged piano works for performance, be these original works or transcriptions, has been well documented throughout history. This thought, in addition to the fact that Stradal’s scores needed revision, encouraged me to make alterations to Stradal’s transcriptions and served as a strong incentive to write the current study. In it, I will comment on the alterations performed to segments of Stradal’s piano transcriptions of Wagner’s Schluβ der letzten Aufzuges (End of the last Act) from Siegfried and Trauermusik aus dem letzten Aufzug (Siegfried’s Funeral March) from Götterdämmerung. These changes have the purpose of reflecting in the piano as closely as possible the sonorous reality of the transcriptions’ operatic sources and, by doing so, making Stradal’s arrangements more effective for performance.

Das Projekt Wagner-Lesarten wagt neue Wege - die erstmalige, historisch informierte Aufführung von Richard Wagners Operntetralogie Der Ring des Nibelungen unter Leitung von Kent Nagano und mit Concerto Köln. Das auf mehrere Jahre angelegte Projekt nähert sich der neuen Lesart des Ring auf zwei Ebenen an: wissenschaftlich und künstlerisch. Von Beginn an beschäftigt sich ein Team von Wissenschaftler:innen mit aufführungspraktischen Aspekten der Instrumental-, Gesangs-, Sprach- und Bühnenpraxis des 19. Jahrhundert. In dieser Vorbereitungsphase werden die wissenschaftlichen Erkenntnisse bei Instrumental- und Sänger:innen-Workshops in die Praxis überführt. Die begleitenden Vorkonzerte, bei denen neben Richard Wagners Siegfried-Idyll, den Wesendonck-Liedern und der Tannhäuser-Ouvertüre auch Werke von Berlioz, Paganini, Bruckner und Offenbach gespielt werden, ermöglichen eine Annäherung an die Wagner'sche Klangsprache, die 2021 in die Aufführung von Das Rheingold münden wird. Von wissenschaftlicher Seite aus wird dieser Prozess umrahmt von Symposien und wissenschaftlichen Workshops, die sich mit den verschiedenen Aspekten der historisch informierten Aufführungspraxis speziell auf Wagner und den Ring bezogen auseinandersetzen. Die Forschungsbeiträge von Wagner-Lesarten sind im Open Access bei musiconn.publish veröffentlicht. Unterstützt wird das Projekt maßgeblich von der Kunststiftung NRW, dem Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, der Strecker-Stiftung und MBL. (Wagner-Lesarten, Rika Eichner)

Unser zwischen Musik- und Sprechwissenschaft angesiedelter Beitrag versteht sich als Einführung in die für WAGNER-LESARTEN elementare Thematik der Bühnenaussprache beim Sprechen und Singen und in weiteren Sprechsituationen im 19. Jahrhundert und speziell bei Richard Wagner. Es werden Dimensionen des Aussprachebegriffs – die Zusammenhänge zwischen Aussprache und Phonetik / Phonologie sowie Aussprache und Orthografie – beschrieben und Hintergründe der Herausbildung einer deutschen Standardaussprache dargestellt. Das Konzept einer »Historischen Aussprachepraxis« soll am Beispiel Wagners und speziell am Ring des Nibelungen in seinen Anfängen ausgeführt werden. Wie kann Wagners Ausspracheideal gefunden werden? Welche Spuren lassen sich bereits erahnen? Diese und weitere Fragen werden aufgegriffen und zu beantworten versucht. Unser Beitrag versteht sich als Auftakt zu einer aufführungspraktisch motivierten Untersuchung der Ausspracheideale sowie konkreter Vorgaben für das Sprechen und Singen auf der Bühne im 19. Jahrhundert. Weitere Studien sollen im Anschluss hieran anknüpfen und verschiedene Aspekte tiefenscharf untersuchen. / Our article, situated between musicology and speech science, can be understood as an introduction to the major themes for »Wagner Readings« with regard to stage pronunciation while speaking and singing and other conversational situations in the 19th century with a particular focus on Richard Wagner. The dimensions of pronun-ciation will be described – the correlations between pronunciation and phonetics/ phonology as well as between pronunciation and orthography – and the reasons behind the establishment of a standard German pronunciation will be outlined. The concept of a »historical pronunciation practice« in its beginnings using Wagner as an example and the »Ring of the Nibelung« in particular will be realized. How can Wagner's ideal pronunciation be determined? Which clues are already open to speculation? – Questions such as these and others will be raised and attempts at answers made. Our contribution is to be understood as the beginning of performance practice-motivated research into pronunciation ideals and concrete standards of speaking and singing on stage in the 19th century. Further studies that tie in to this and that examine various aspects in great detail are to follow. (Übersetzung: Jennifer Smyth)