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Umwelterklärung ... / Staatliche Betriebsgesellschaft für Umwelt und Landwirtschaft, Freistaat Sachsen
No full textDie neuzeitlichen Handschriften der Nullgruppe (Ms 01201-01518): Beschrieben von Detlef Döring
No full textDer Band schließt die Beschreibung der neuzeitlichen Handschriften der Null-Gruppe ab. Der inhaltliche Schwerpunkt der erfassten Handschriften liegt - wie schon bei den früheren Bänden - auf dem Gebiet der Universitäts- und Wissenschaftsgeschichte vor allem des mitteldeutschen Raumes. Erheblich ist die Zahl der Vorlesungsnachschriften des 17. bis 20. Jahrhunderts, die zum größten Teil in Leipzig angefertigt wurden. Dazu tritt eine Reihe von Gelehrtennachlässen, unter denen die Korrespondenzen einiger Naturwissenschaftler, Mediziner und Philologen nationale und internationale Bedeutung besitzen. Im Bestand befinden sich auch Texte außer-universitärer Thematik, so zum Vormärz (R. Blum), zur Missionsgeschichte, zur Kunstgeschichte (K. Kollwitz, M. Klinger) oder zur Geschichte Sachsens. Tagebücher verschiedenster Provenienz, Reiseberichte, Akten gelehrter Sozietäten, Werkmanuskripte, bellestristische Texte u.a. runden das Bild ab
Äquidistanzen im zwölftönigen System: Zusammenhänge kompositorischer Verfahren im frühen und späten Klavierwerk Franz Liszts
No full textFranz Liszt’s late piano works represent a radical change in his musical style. They stand out for their frequent use of equidistant scales and chords such as the diminished seventh chord or the augmented triad as well as the combination of different scale types such as the whole tone scale, the octatonic scale or the “gipsy scale”. While the compositional techniques in Liszt’s late works have often been described in isolation from Liszt’s earlier works and have been understood as paving the way for post-tonality, this article aims to show that they also emerge from a system of more traditional techniques that complement each other and were actually used by Liszt throughout his career as a composer. A discussion and comparison of selected techniques in Liszt’s late piano work as exemplified in La lugubre gondola I/II, Nuages gris, Unstern! and Bagatelle ohne Tonart is related to techniques in earlier works such as Funerailles. It can be shown that the “idiosyncratic” techniques in the late works are actually ultimate consequences from compositional techniques dating back to the Baroque period
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
Zum Konzept musikalischer Gestik
No full textWhen hearing music as music, we hear motion in it, action even. Much of this action is gestural in quality. Richard Wagner’s writings about musical gesture as intimately linked with dramatic gesture, speak of this quality. The corporeality implied in Wagner’s understanding, however, has been largely abstracted away in music aesthetics and music theory since then. The dominant term in formalist analysis is Gestalt, namely, the structure of ideal motion. It appears devoid of the sensual, stripped of its actual bodily feeling and replaced by an act of imagination; in the music aesthetics of Carl Dahlhaus, Roger Scruton and Jerrold Levinson, and in the semiotic approach of Robert Hatten, for instance, the term gesture is retained, but conceptually limited to a metaphoric use: to talk of musical gesture there is to transfer its meaning from the domain of bodily expression. The latter concept does not explain how the transfer makes sense instead of being arbitrary to the musical experience (it only states that it does, and leaves the role of its apt application to the expert critic). My purpose in this text is to rethink the concept of musical gesture, integrate its actual sensual dimension, and hint at its rich potential for the analysis of music. I argue that the proprioceptivity of bodily gestures is extremely rich, spanning kinetic, haptic, topological, even emotional characteristics, all included in their understanding as felt in the lived body. Keeping this in mind, the audio-visual-tactile perception of one’s gesture when making a sound oneself, by sliding one’s hand over a piece of paper, say, provides the experiential backdrop to an empathic completion of a gesture as heard. A heard sonic shape thus becomes more than a Gestalt: it acquires a feel; ambiguous to some degree, but grounded in the very mundane experience of one’s own very refined gestural repertoire. This widened concept, I argue, elucidates music as being something not only understood, but something grasped and felt. I show this elaborated concept of musical gesture to be relevant to the understanding of expressivity in large scale thematic variation, taking Brahms’s Intermezzo op. 118,6 in E-flat Minor as an illustration. Provided one views music as something that occurs in aesthetic experience, then gesture is here shown as intersubjective and musically immanent
MuDoGeR: Multi-Domain Genome recovery from metagenomes made easy
No full textSeveral computational frameworks and workflows that recover genomes from prokaryotes, eukaryotes and viruses from metagenomes exist. Yet, it is difficult for scientists with little bioinformatics experience to evaluate quality, annotate genes, dereplicate, assign taxonomy and calculate relative abundance and coverage of genomes belonging to different domains. MuDoGeR is a user-friendly tool tailored for those familiar with Unix command-line environment that makes it easy to recover genomes of prokaryotes, eukaryotes and viruses from metagenomes, either alone or in combination. We tested MuDoGeR using 24 individual-isolated genomes and 574 metagenomes, demonstrating the applicability for a few samples and high throughput. While MuDoGeR can recover eukaryotic viral sequences, its characterization is predominantly skewed towards bacterial and archaeal viruses, reflecting the field's current state. However, acting as a dynamic wrapper, the MuDoGeR is designed to constantly incorporate updates and integrate new tools, ensuring its ongoing relevance in the rapidly evolving field. MuDoGeR is open-source software available at https://github.com/mdsufz/MuDoGeR. Additionally, MuDoGeR is also available as a Singularity container
Vitamin-D-Bindungsproteinkonzentrationen im Blut während der Entwicklung von Kindern und Jugendlichen: Ergebnisse der LIFE Child Studie
No full textDie Dissertation befasst sich mit den Vitamin-D-Bindungsprotein (DBP) Konzentrationen im Blut von Kindern und Jugendlichen im Rahmen der LIFE Child Studie. Die Forschungsarbeit zielte darauf ab, altersspezifische DBP-Referenzwerte zu etablieren und die Zusammenhänge zwischen DBP und verschiedenen Parametern wie unter anderem Alter, Geschlecht, BMI, Pubertätsstadium, orale Kontrazeptiva und Entzündungsmarkern zu untersuchen. Die Ergebnisse zeigten, dass Mädchen signifikant höhere DBP-Werte als Jungen aufwiesen und die DBP-Werte bei Adipositas und in späteren männlichen Pubertätsstadien sanken, während sie bei Einnahme oraler Kontrazeptiva und erhöhten CRP-Werten anstiegen. Letztlich betont die Studie die zentrale Rolle von DBP bei der Beurteilung des Vitamin-D-Status und liefert robuste Referenzperzentilen für die untersuchte Kohorte
The Performer as Analyst: A Case Study of J. S. Bach’s “Dorian” Fugue BWV 538
No full textThis study seeks to compare the performer’s output as analyst and as performer. Sixteen professional organists were invited to perform J. S. Bach’s organ fugue in D Minor (BWV 538), also known as the “Dorian” fugue. Each performer recorded the fugue twice on an organ equipped with a MIDI console, which allowed precise measurement of performance parameters. Immediately after their performances, organists were invited to submit their own analyses of the piece by indicating its main formal subdivisions. A comparison of the written analyses indicated that, despite a fair amount of individual variation, performers generally agreed on the main structural boundaries of the piece. An analysis of the temporal profiles of the performances revealed that the largest tempo variations coincided with these structural boundaries. Although a significant correlation was found between the performers’ degree of agreement on a formal subdivision and the average magnitude of the concomitant tempo deviation, no such correlation could be found within individual performers, suggesting that written analysis may not be the optimal strategy to determine the performer’s analytical reading of a piece
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