Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB): Qucosa
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Grün- und Strukturpflanzen für Balkon, Terrasse und Beet mit gelbgrünem bis grünem Laub
No full textEs müssen nicht immer Blüten sein, die für Vielfalt und Farbe in Bepflanzungen sorgen. Grün- und Strukturpflanzen werden immer stärker in Bepflanzungen auf Balkon, Terrasse oder im Beet verwendet. Im Faltblatt werden Pflanzen vorgestellt, die mit ihrem gelbgrünen bis grünen Laub zieren.
Redaktionsschluss: 09.10.202
Powěsćowa a alarmowa słužba za wulku wodu w Sakskej: Informacije Krajneho centruma za wulku wodu: Informationen des Landeshochwasserzentrums
No full textOb als Anwohner in Flussnähe oder als Betroffener von Starkregen. Ob als Bürger, Unternehmer oder Landwirt: Von Hochwasser können fast alle Menschen in Sachsen betroffen sein! Mit diesem Faltblatt gibt das Landeshochwasserzentrum einen Überblick über die Aufgaben des Hochwasser- und Alarmdienstes und zeigt, wie sich die Öffentlichkeit informieren kann.
Redaktionsschluss: 05.09.202
Perlfeh
No full textDie Faltblattreihe zu gefährdeten einheimischen Kaninchenrassen wird mit Informationen zum Perlfeh-Kaninchen ergänzt. 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
Musik von einem fremden Planeten?: Variationen über Struktur, Wahrnehmung und Bedeutung in der Musik des 20. und 21. Jahrhunderts
No full textThe relationship between musical structure, perception and musical meaning can be understood as a key to the development of a theory of post-tonal music. Preliminaries of this theory are developed in three “variations”. First, a review of the difficult relationship between music theory and new music in the 20th century is explained by (1) an increasingly diverse compositional practice that has lead to a composer-centred “theory”, often amounting to nothing more than a scantily contextualized documentation of a composer’s intentions and techniques, and (2) the universalist and dogmatic tendency of music-theoretical discourse around 1900 which, however, has since developed into an “epistemological pluralism” (Nicholas Cook). The Graz research project “organisation of sound”, initiated and headed by the author, pursues just such a pluralistic methodology by integrating author- and listener-perspectives on post-tonal music based on a morpho-syntactical conceptual framework with references to gestalt theory. This approach emerged not least from the observation that new music, especially after 1945, has increasingly been conceived of “morphologically” with a strong focus on music perception, as argued in the second variation. The idea that musical structure, perception and “worldliness” [Welthaltigkeit] are inseparable allowed composers to retain the idea of musical auto-referentiality while at the same time claiming the social-political impact of contemporary music. This is illustrated by a short discussion of the relationship between structural coherence and (political) meaning in works by Brian Ferneyhough, Helmut Lachenmann and Salvatore Sciarrino. The third variation discusses these questions in more detail through an examination of two recent works by Chaya Czernowin and Isabel Mundry. In Czernowin’s Excavated Dialogues – Fragments Western and Chinese instruments are organized in a culturally hybrid space saturated with conflict emerging from a highly gestural material; in Mundry’s Ich und Du solo piano and orchestra go through several stages of an ambiguous identity discourse informed by an essay of Japanese philosopher Kitarō Nishida. Antinomies between the composers’ self-interpretations and the morpho-syntactical analysis can be understood as results of a music-specific polyvalence that should inform any theory of post-tonal music
Temporal Transformations in Cross-Cultural Perspective: Augmentation in Baroque, Carnatic and Balinese Music
No full textTo advance any cross-cultural musicology we could do worse than to refine our perspectives on temporality. Yet labelling qualities of musical time – as if such qualities were static – locks in counterproductive essentializations, since categories like “linear time” and “nonlinear time” (Jonathan Kramer, The Time of Music, 1988) emerged from obsolete distinctions between the West and “the rest” and are based on misleading analogies to the physical world. Such polarized distinctions now seem insufficient. Indeed, any sense of stability in a temporal category is illusory, since even in musics of strict repetition, time and its perceivers are always moving. Thus it may be more productive to typologize temporal transformations as a way to focus on unfolding process. This article begins to address the question of how many ways musical time can transform. I develop a first approximation of a lower-level typology of transformation types. Refining the typology means integrating various cultural and structural features. Choosing the culturally and structurally weighted process of temporal augmentation as a case study, I focus on analysis and comparison of examples from Europe, India and Indonesia
Interdisciplinarity and Metaphors: Historical Reflections on Music Theory and the Psychology of Music
No full textMusic theory and the psychology of music have maintained a close relationship, especially since the 1980s. Yet, the liaison between these two fields can be further traced back to the late 19th century, the formative period of both modern musicology and psychology. This article deals with those interdisciplinary works of the late 19th and early 20th centuries, which we may refer to as early music psychology marked by the writings of Hermann von Helmholtz, Carl Stumpf, Hugo Riemann and Ernst Kurth. Instead of tracing the historical origins of current studies, however, this article attempts to contextualize the discourse of early music psychology and identify how these theories were constructed. The linguistic and metaphorical formations that appear frequently in early music psychological writings are examined – in particular the metaphors related to the notion of musical force, most of which were imported from the contemporary sciences such as physics and physiology. An examination of the “source domains” of metaphors such as »life-force«, »living force« and a group of terms related to physical forces reveals different conceptions of the ways in which the boundaries between the natural and mental sciences may be crossed and of different notions of listening to music. To borrow Morris Berman’s expressions, we may observe here a shift from “disenchanted” to “re-enchanted” music psychology. It is often said that the subject matter of psychology (i. e., the human mind) is constructed by practising psychologists themselves, and that changes in psychological language signify psychological change in their own right. The same holds true for the psychology of music. How do we conceptualize music? How does this conception shape the field of music psychology? By evoking such questions, historical and critical reflections on early music psychology may serve to rethink present-day interdisciplinary works between music theory and music psychology
Spodziewam się dziecka: Informacje o ciąży i porodzie
Full text linkInformationen zu Schwangerschaft und Geburt
Redaktionsschluss: 15.12.2024Informacje o ciąży i porodzi
Handbuch Prozessmanagement
Full text linkDie 5. Auflage des Handbuches Prozessmanagement zeigt den Nutzen der Einführung von Prozessmanagement für öffentliche Verwaltungen auf und erläutert die Erfolgsfaktoren in Prozessmanagementvorhaben. Aktuelle Entwicklungen und Trends im Prozessmanagement sowie die Prozessplattform Sachsen mit ihren Prozessmanagement-Notationen werden beschrieben. Das Handbuch soll als praxisnahes und umfassendes Nachschlagewerk im täglichen Arbeitsumfeld als wertvolle Unterstützung dienen.
Redaktionsschluss: 08.01.202
