Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB): Qucosa
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Die Sächsische Gartenakademie: Aktiv für den Freizeitgartenbau 2026
No full textDie Gartenakademie des Sächsischen Landesamtes für Umwelt, Landwirtschaft und Geologie wendet sich mit einem vielfältigen Weiterbildungsangebot an alle Freizeitgärtnerinnen und Freizeitgärtner. Der Flyer bietet einen Überblick über das gesamte Angebot der Gartenakademie im Jahr 2026.
Redaktionsschluss: 15.11.202
Viktimisierungsstudie Sachsen (VisSa) - Studie zur Betroffenheit von Frauen durch sexualisierte Gewalt, häusliche/partnerschaftliche Gewalt und Stalking: Abschlussbericht
No full textMit der Viktimisierungsstudie Sachsen (kurz: VisSa-Studie) wurden im Auftrag des ehemaligen Staatsministeriums der Justiz und für Demokratie, Europa und Gleichstellung im Jahr 2023 erstmals valide
Daten für Sachsen vorgelegt. Grundlage hierfür war eine anonyme Online-Umfrage unter allen sächsischen Frauen ab 16 Jahren sowie ergänzende qualitative Interviews mit besonders vulnerablen Gruppen – Frauen mit Migrationshintergrund sowie Frauen mit Behinderung. Die Ergebnisse sind erschreckend und sie zeigen, wie viele Frauen bereits in ihrem Leben geschlechtsspezifische Gewalt erlebt haben. So hat die Hälfte aller Frauen mindedstens einen Vergewaltigungsversuch erlebt, über ein Drittel wird im häuslichen Umfeld geschlagen – um nur zwei der vielen hier erhobenen Daten zu zitieren. Dunkelfeldstudien wie die VisSa-Studie sind elementar, denn nur so können wir uns ein realistisches und nuanciertes Bild davon machen, wie geschlechtsspezifische Gewalt entsteht, in welchen Zusammenhängen sie sich mit welcher Häufigkeit ereignet, welche Hilfe- und Schutzangebote genutzt oder eben nicht genutzt werden und wie wir bessere und wirksamere Unterstützungsangebote für die betroffenen Menschen entwickeln können.
Redaktionsschluss: 01.01.202
Schönberg »beim Wort genommen«: Dimensionen seines Motiv-Begriffs und das Klavierstück op. 11,3
No full textWhile it has become common practice to employ Arnold Schönberg’s theoretical terms in analyses of works of the classical style, ignoring the anachronism, they are not consequently applied to Schönberg’s own works or works of his students. Indeed, such an “historically informed” analytical approach faces considerable difficulties, especially when considering works of Schönberg’s “free atonal” period (1907–1922). That the majority of Schönberg’s theoretical works were written during later periods of his life and that comparable sources for the earlier periods are scarce is only one of the problems that such an approach faces. This article reviews Schönberg’s concept of musical “motif” and discusses its analytical applicability to the works of the “free atonal” period. It can be shown that even after the abandonment of tonality, motivic thinking continued to guide Schönberg’s compositional technique, even though it was sometimes developed to extreme dimensions. A short “motivic” analysis of the well-known piano piece op. 11,3 aims to demonstrate that in the light of this historical evidence widely used characterizations of Schönberg’s atonal works as “athematic” or their description as an “uncontrolled free style” have to be reconsidered
Meißner Widder
No full textIn einer Faltblattreihe wird über die sechs gefährdeten einheimischen Kaninchenrassen Sachsengold, Angorakaninchen, Meißner Widder, Weiße Neuseeländer, Deutsche Riesenschecke und Hermelinkaninchen informiert. Die Flyer geben Auskunft zu Zuchtgeschichte, Kennzeichen, Haltung und Bestandsentwicklung. Ziel ist es, den Schutz gefährdeter Rassen zu unterstützen und mehr Züchter für deren Erhalt zu gewinnen. Dazu sind Ansprechpartner mit Kontaktdaten aufgelistet.
Redaktionsschluss: 25.09.202
Thinking through the Body: Music Theory for the Performer
No full textThere is significant controversy between music theorists and performers about the value and relevance of the study of music theory for performers. As I argue in this paper, the dissatisfaction on the part of performers about the value of existing analytical methods stems from the fact that the majority of these methods do not address the particular needs of performers, who, unlike theorists, engage with music in a more bodily than intellectual way. The goal of this article is to propose new methods of analysis that promise to engage performer-students equally with the mind and the body. The methods proposed here share with Dalcroze Eurhythmics the belief that by experiencing music through the whole body, students develop important kinaesthetic skills necessary to understanding music more deeply and expressing themselves more musically. By revealing the connection between musical and physical movement, the two analytical representations proposed – the bouncing ball and gestural arrow – allow analysts to capture expressive movement while encouraging more bodily involvement in the analytical process. Structural analysis involves the exploration of both the expressive potential inherent in the notes of the musical score and the precise expressive effect of the way these notes are performed. The emphasis on rhythmic process and expressive nuance allows performer-analysts to engage with and become sensitized to qualities of music directly related to the act of performance
Approximate and Convenient Time Signatures: Rubato Notation in Alexander Scriabin’s Early Preludes
No full textstandpoint of performance practice, I introduce an interpretive approach that focusses on rubato as a causal factor of Scriabin’s notational idiosyncrasies and argue that they represent an act of selfanalysis, pointing to a conscious imprint of pre-compositional planning on the final product in the choice of metric notation. In this study, preludes are classified according to two criteria: (1) the type of primary metrical dissonance they engender, which includes Type A rubato, i.e., an expressive anticipation or ornamentation of the melodic line against the accompaniment in strict time, and Type B rubato – temporary displacement of the entire texture; and (2) the type of approximation in time signature notation. The focus of this study are the early preludes (up to 1903) as Scriabin’s attention in the later preludes appears to increasingly turn toward the harmonic dissonance and away from rubato and hand synchronisation issues. I present notational variants to three preludes from op. 11 that serve as an investigative tool into Scriabin’s compositional process. Finally, I offer suggestions regarding performance considerations as well as the historical evaluation of Scriabin’s oeuvre in light of the analyses presented in this study
Zur Zitattechnik in Helmut Lachenmanns Tanzsuite mit Deutschlandlied
No full textIn his Tanzsuite mit Deutschlandlied [Dance Suite with German National Anthem, 1979/80] Helmut Lachenmann uses a structure which combines dances from different cultural backgrounds and historical periods. In addition, he incorporates well-known traditional melodies into the work. These are mostly not identifiable by the listener. The German National Anthem (Deutschlandlied) is placed at the core of the work. In the Coda, the lullaby Schlaf, Kindlein, schlaf is added. The Viennese folk song O du lieber Augustin constitutes a “quotation of a quotation” since Arnold Schönberg had already referred to it in the second movement of his Second String Quartet (1907/08). In the analysis, Lachenmann’s criteria for incorporating quotations become apparent: (1) With regard to rhythm he maintains the proportions of the quotations used, yet he applies changes. The exponential increase of note values, for example, reveals a highly structuralist approach to the construction of rhythm. (2) The shape of melodies/pitches from the quoted material are only partly retained and often extensively stretched and thus reshaped; in some instances, Lachenmann retains the pitches literally, sometimes the diatonic scale is transformed into a bright/dark-scale of noise sounds and clusters. (3) Lachenmann perceives the quotations as “structure”. By referencing well-known musical material, this structure is saturated with meaning. Lachenmann’s quotation technique shows the desire to legitimize music through its content; it demonstrates the endeavour to incorporate melody into a language of sound and noise and testifies to the composer’s intention to reach beyond structural realms and produce social and political meaning. All these aspects culminate in Lachenmann’s opera Das Mädchen mit den Schwefelhölzern (1991–96/2001). Thus, Tanzsuite mit Deutschlandlied might be considered an interim stage in Lachenmann’s work
