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Fortspinnungstypus: A New Definition based on Eighteenth-Century Theory
No full textWilhelm Fischer’s concept of Fortspinnung has become one of the most frequently used terms in modern descriptions of late-Baroque musical style ever since it first appeared as the central idea of his fundamental study Zur Entwicklungsgeschichte des Wiener klassischen Stils in 1915. Nevertheless, modern use of this term and the underlying concept are troubled by two problems. First, Fischer’s original meaning and his underlying theory are sometimes distorted or obscured. Secondly, the theory itself is somewhat inconsistent and sometimes at odds both with the music of the late Baroque and with musical conceptualization of that period. Restoring Fischer’s original meaning, therefore, will not entirely solve the problems that surround this term. Rather, the concept behind the term can be profitably enriched by an infusion from eighteenth-century theories. The most detailed theory of phrase and period to come out of the 18th century was initially created by Joseph Riepel in the first two instalments of his Anfangsgründe zur musicalischen Setzkunst, published in 1752 and 1755, respectively, and elaborated in Heinrich Christoph Koch’s three volumes of Versuch einer Anleitung zur Composition, published in 1782–1793. Riepel’s treatise, which he must have begun to write during the 1740s, has the additional recommendation of reflecting musical thought current during the lifetime of Johann Sebastian Bach. While Fischer’s insight into the historical significance of the Fortspinnungtypus period remains important, its value can be enhanced through correction and clarification based on the study and application of Riepel-Koch theory. The purpose of this article is to show how period theory can illuminate and improve Fischer’s insightful concept and provide a better basis for modern analysis of late-Baroque music
Experimental Data on Maximum Swelling Pressure of Clayey Soils and Related Soil Properties
No full textClayey soils exhibit significant volumetric changes in response to variations in water content. The swelling pressure of clayey soils is a critical parameter for evaluating the stability and performance of structures built on them, facilitating the development of appropriate design methodologies and mitigation strategies to ensure their long-term integrity and safety. We present a dataset comprising maximum swelling pressure values from 759 compacted soil samples, compiled from 16 articles published between 1994 and 2022. The dataset is classified into two main groups: 463 samples of natural clays and 296 samples of bentonite and bentonite mixtures, providing data on various types of soils and their properties. Different swelling test methods, including zero swelling, swell consolidation, restrained swell, double oedometer, free swelling, constant volume oedometer, UPC isochoric cell, isochoric oedometer and consolidometer, were employed to measure the maximum swelling pressure. The comprehensive nature of the dataset enhances its applicability for geotechnical projects. The dataset is a valuable resource for understanding the complex interactions between soil properties and swelling behavior, contributing to advancements in soil mechanics and geotechnical engineering
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
Vibrio natriegens as a superior host for the production of c-type cytochromes and difficult-to-express redox proteins
No full textC-type cytochromes fulfil many essential roles in both aerobic and anaerobic respiration. Their characterization requires large quantities of protein which can be obtained through heterologous production. Heterologous production of c-type cytochromes in Escherichia coli is hindered since the ccmABCDEFGH genes necessary for incorporation of heme c are only expressed under anaerobic conditions. Different strategies were devised to bypass this obstacle, such as co-expressing the ccm genes from the pEC86 vector. However, co-expression methods restrict the choice of expression host and vector. Here we describe the first use of Vibrio natriegens Vmax X2 for the recombinant production of difficult-to-express redox proteins from the extreme acidophile Acidithiobacillus ferrooxidans CCM4253, including three c-type cytochromes. Co-expression of the ccm genes was not required to produce holo-c-type cytochromes in Vmax X2. E. coli T7 Express only produced holo-c-type cytochromes during co-expression of the ccm genes and was not able to produce the inner membrane cytochrome CycA. Additionally, Vmax X2 cell extracts contained higher portions of recombinant holo-proteins than T7 Express cell extracts. All redox proteins were translocated to the intended cell compartment in both hosts. In conclusion, V. natriegens represents a promising alternative for the production of c-type cytochromes and difficult-to-express redox proteins
Examining Drivers’ Mental Models for Energy Efficient Electric Driving
No full textWhen switching from vehicles with combustion engine (ICEV) to battery powered vehicles (BEV) driving behaviour has a big impact on the available driving range. Currently, there is a lack of insight regarding the knowledge drivers should have to extend range by applying eco-driving strategies. Semi-structured interviews with N = 52 ICEV drivers were conducted on known eco-driving strategies as well as measures to reduce energy consumption and their application. The results revealed that most drivers do have knowledge of eco-driving strategies and measures to some extent. However, this knowledge is not extensive and some of it is not correct. While the effect of reduced vehicle speed on energy efficiency is underestimated, the effect of assistance systems like ACC is overestimated. In addition, participants reported applying fewer strategies than they actually know. We conclude that drivers should be provided with specific knowledge on eco-driving in electric vehicles as well as instant feedback showing benefits of eco-driving to promote actual application of the correct behaviors
Struktur und Interpretation: Eugen d’Alberts und Heinrich Schenkers Deutungen von Franz Schuberts Impromptu op. 90,3 im historischen Kontext
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
States of Balance and Turbulence: Ligeti’s Pièce électronique nr. 3 in Concept and Realization
No full textIn 1957 György Ligeti had recently immigrated to Cologne and was learning about the developments of the avant-garde while working in the electronic music studio of the WDR. His output from this period includes an unfinished work, Pièce électronique nr. 3, a fascinating, yet virtually unknown composition, originally conceived as Atmosphères – the title later used for his orchestral composition of 1961. Pièce électronique nr. 3 looks forward to the innovative texture-driven orchestral compositions for which Ligeti became famous, but also reflects the influence of serialism as practiced by Karlheinz Stockhausen. The serial electronic music composed at the WDR in the 1950s offers a unique perspective on stages of theoretical planning and their relationships to audible realizations; the extensive sketches for this piece are no exception. The piece uses a consistent series of odd numbers to generate durations and pitch material for both small and large scale structures; it also uses sine tones as the predominant type of material, arranged in a way reminiscent of Stockhausen’s structure-group-forms. Shortly after this composition, Ligeti criticized aspects of serial practice, including duration rows and serialized dynamics, and moved away from this theoretical model. Along with comments in interviews, Ligeti’s approach to dynamics in this piece illustrates a significant difference in the artistic ends which Ligeti and Stockhausen sought. The use of such non-serialized parameters as determinants of large-scale form becomes increasingly characteristic in Ligeti’s style in Apparitions and Atmosphères; moreover, the basic shape of Pièce électronique nr. 3 closely resembles the form of the first movement of Apparitions. Thus elements discovered through serial pre-planning in the electronic medium were ultimately realized in non-serial orchestral works
Metaphors of Sound: Cognitive Aspects in the Theories of Pierre Schaeffer, R. Murray Schafer and Gérard Grisey
No full textAccording to the advocates of a cognitive theory of metaphor, such as George Lakoff and Mark Johnson, metaphor is the basic figure of thought, which enables us to think of one object in terms of another. This ability manifests itself in various areas of human activity and finds its expression in numerous verbal statements. Since the 1980s, the cognitive theory of metaphor has strongly influenced many branches of the humanities. In recent decades, it has also been applied to various forms of discourse about music. Interdisciplinary research into metaphor seems to enrich and modify musicological research. It alters our convictions about the nature of theoretical discourse and musical analysis. It enables us to rethink such divisions as analysis and interpretation, structure and expression, musical and extramusical. The analysis of metaphors used in discourse about music reveals the different spheres which influence musical concepts, and also their hierarchical structure and cognitive content. In the 20th century, many interesting and important musical ideas were conveyed by composers themselves. Consequently, the importance of such an interdisciplinary approach will be illustrated by analysis of the theoretical writings of selected twentieth-century composers (Pierre Schaeffer, R. Murray Schafer, Gérard Grisey) who, with the use of metaphorical language, express their different attitudes to the phenomenon of sound, treating it as an object, a living organism or part of an imaginary landscape. Each of these metaphors lies at the source of different musical currents; each of them has a different structure and different cognitive advantages
Die Sächsische Gartenakademie: Aktiv für den Freizeitgartenbau 2025
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 2025.
Redaktionsschluss: 22. November 202