1,726,022 research outputs found
Dahms, Gustav an Herman Grimm (2 Briefe)
No full textDAHMS, GUSTAV AN HERMAN GRIMM (2 BRIEFE)
Dahms, Gustav an Herman Grimm (2 Briefe) (Br848)
Brief 848 (Br848)
Brief 849 (Br849
Oral history interview with Betty Dahms Lewis
No full textBetty Dahms Lewis was born in Chickasha, Oklahoma and was reared on a farm. After graduating from high school in Verden in 1937 she attended Oklahoma College for Women for two years prior to transferring to Oklahoma A&M. She majored in home economics and graduated in 1942 with a teaching certificate in science and in vocational home economics
Oral history interview with Ken Dahms
No full textKen Dahms, a 1968 graduate of Oklahoma State University (OSU) with a degree in political science, discusses his time at OSU and his involvement with student government. He goes into detail about the work he did against the restrictive speaker policy in place at the time and how he reached out to Dr. John Kenneth Galbraith, in protest of the policy, and asked him not to come to campus. He mentions the whole process of opposing that policy and the administration that put it in place. He comments on how this action at OSU is one of the things he is most proud. Dahms was an active member of the Friday Afternoon Tea and Glee Society (FATAGS).The O-STATE Stories Oral History collection is comprised of interviews which chronicle the rich history, heritage, and traditions of Oklahoma State University
Lernet Stenotachygraphie in 10 Std. erlernbar. Grösste Kürze, Wissenschaftl. Aufbau, Prospekte gratis durch Joh. Dahms Berlin
No full textLERNET STENOTACHYGRAPHIE IN 10 STD. ERLERNBAR. GRÖSSTE KÜRZE, WISSENSCHAFTL. AUFBAU, PROSPEKTE GRATIS DURCH JOH. DAHMS BERLIN
Lernet Stenotachygraphie in 10 Std. erlernbar. Grösste Kürze, Wissenschaftl. Aufbau, Prospekte gratis durch Joh. Dahms Berlin ( -
Dahms H. G — La deuxième guerre mondiale
No full textSauvy Alfred. Dahms H. G — La deuxième guerre mondiale. In: Population, 17ᵉ année, n°2, 1962. p. 376
Ausbildung und Weiterbildung
Get PDFAUSBILDUNG UND WEITERBILDUNG
Ausbildung und Weiterbildung / Dahms, Nathaly (Rights reserved) (-
Heinrich Schenker, Walter Dahms, and the Music of the South
Get PDFIn recent years scholars have made great strides in contextualizing the theories of Heinrich Schenker (18681935) within the politics and culture of the interwar period. Many of Schenker’s closest pupils and disciples have now also come under investigation. Few present as bewildering a story as Walter Dahms (18871973), a music critic and one of Schenker’s fiercest advocates in the German press. Though they met on just one occasion, Dahms and Schenker corresponded extensively over a period of eighteen years (191331), revealing a mutual concern for the social and political climate of interwar Germany. In some cases their correspondence served as a springboard for many of the extra-musical ideas Schenker published in his analytical pamphlets of the 1920s, Der Tonwille and Das Meisterwerk in der Musik. In other cases it demonstrated Dahms’s and Schenker’s bitter disagreements about the Great War and its main perpetrators. Along with an array of articles he wrote on Schenker, Dahms published two books that brought Friedrich Nietzsche’s notion of the ‘‘Music of the South’’ into contact with Schenker’s developing theories of musical structure. Dahms further proposed a concept of ‘‘vocality’’ that the journal of musicology he saw as the key to restoring the notion of musical genius in Western music. Schenker’s analysis of Mendelssohn’s Venetianisches Gondellied in F-sharp minor, op. 30, no. 6, published in issue 10 of Der Tonwille, unearths Schenker’s own take on the South and on Dahms’s vocal principle. In the end, this case study exemplifies the intermingling of aesthetic, performative, and analytical concerns within Schenker’s work at this time, and it exposes the many ideological tensions between Schenker’s and Dahms’s outlooks on music, culture, and politics
Heinrich Schenker, Walter Dahms, and the Music of the South
No full textIn recent years scholars have made great strides in contextualizing the theories of Heinrich Schenker (18681935) within the politics and culture of the interwar period. Many of Schenker’s closest pupils and disciples have now also come under investigation. Few present as bewildering a story as Walter Dahms (18871973), a music critic and one of Schenker’s fiercest advocates in the German press. Though they met on just one occasion, Dahms and Schenker corresponded extensively over a period of eighteen years (191331), revealing a mutual concern for the social and political climate of interwar Germany. In some cases their correspondence served as a springboard for many of the extra-musical ideas Schenker published in his analytical pamphlets of the 1920s, Der Tonwille and Das Meisterwerk in der Musik. In other cases it demonstrated Dahms’s and Schenker’s bitter disagreements about the Great War and its main perpetrators. Along with an array of articles he wrote on Schenker, Dahms published two books that brought Friedrich Nietzsche’s notion of the ‘‘Music of the South’’ into contact with Schenker’s developing theories of musical structure. Dahms further proposed a concept of ‘‘vocality’’ that the journal of musicology he saw as the key to restoring the notion of musical genius in Western music. Schenker’s analysis of Mendelssohn’s Venetianisches Gondellied in F-sharp minor, op. 30, no. 6, published in issue 10 of Der Tonwille, unearths Schenker’s own take on the South and on Dahms’s vocal principle. In the end, this case study exemplifies the intermingling of aesthetic, performative, and analytical concerns within Schenker’s work at this time, and it exposes the many ideological tensions between Schenker’s and Dahms’s outlooks on music, culture, and politics
Heinrich Schenker, Walter Dahms, and the Music of the South
No full textIn recent years scholars have made great strides in contextualizing the theories of Heinrich Schenker (1868−1935) within the politics and culture of the interwar period. Many of Schenker’s closest pupils and disciples have now also come under investigation. Few present as bewildering a story as Walter Dahms (1887−1973), a music critic and one of Schenker’s fiercest advocates in the German press. Though they met on just one occasion, Dahms and Schenker corresponded extensively over a period of eighteen years (1913−31), revealing a mutual concern for the social and political climate of interwar Germany. In some cases their correspondence served as a springboard for many of the extra-musical ideas Schenker published in his analytical pamphlets of the 1920s, Der Tonwille and Das Meisterwerk in der Musik. In other cases it demonstrated Dahms’s and Schenker’s bitter disagreements about the Great War and its main perpetrators.
Along with an array of articles he wrote on Schenker, Dahms published two books that brought Friedrich Nietzsche’s notion of the “Music of the South” into contact with Schenker’s developing theories of musical structure. Dahms further proposed a concept of “vocality” that he saw as the key to restoring the notion of musical genius in Western music. Schenker’s analysis of Mendelssohn’s Venetianisches Gondellied in F-sharp minor, op. 30, no. 6, published in issue 10 of Der Tonwille, unearths Schenker’s own take on the South and on Dahms’s vocal principle. In the end, this case study exemplifies the intermingling of aesthetic, performative, and analytical concerns within Schenker’s work at this time, and it exposes the many ideological tensions between Schenker’s and Dahms’s outlooks on music, culture, and politics.</jats:p
Brief von Charlotte Dahms an Adolf Erman
No full textOpel, Karl, Das alte Wunderland der Pyramiden, als Kind gelesen; Interesse an ägyptischer Kunst; Museumsbesuche und Lektüre diverser Bücher dazu; Hieroglyphen-Schrift; Bitte, Richtlinien dazu zu erhalten; Frage, ob ihre Schulbildung dafür ausreichend sei (höhere Töchterschule); bietet ihre unentgeldliche Mitarbeit im Museum oder bei Erman an.Handschrif
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