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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Der Schaffensprozess bei Arnold Schönberg und Alban Berg im Licht der Quellen: Zum Verhältnis von Einfall und Ausarbeitung in einigen um 1910 entstandenen Werken und den Konsequenzen für eine Edition
No full text»Aus der Zweigeschlechtigkeit ist ein Übergeschlecht entstanden!« Zum musiktheoretischen Diskurs über Dur und Moll im Kontext der Erweiterung und Auflösung der Tonalität
No full textMusikalische Zeitgestaltung in Mendelssohns Liedern ohne Worte
Full text linkFelix Mendelssohn Bartholdys Liedern ohne Worte liegt gewöhnlich eine einfache dreiteilige Liedform mit überschaubaren Proportionen zugrunde. Anhand dreier Punkte im Formverlauf (Themenvorstellung im ersten Formteil, Übergang zur Reprise, Themenreprise) wird zu zeigen versucht, wie durch Erweiterung der achttaktigen Einheiten sowie die besondere Gestaltung der Harmonik und Motivik dieses Formgerüst aufgebrochen und gleichsam dynamisiert wird. Dabei wird insbesondere das Ineinander von Andeuten und (vorläufigem) Aufschieben eines (harmonischen, thematischen) Ziels als Sehnsuchtston und damit im Sinne einer romantischen Ästhetik gedeutet.
Felix Mendelssohn Bartholdy’s Songs without words are generally written in a simple ternary form with straightforward proportions. Three points in the course of the piece (the presentation of the theme in the first part, the transition to the recapitulation, and the recapitulation of the theme) will serve to illustrate how the extension of the eight-bar-units as well as the special design of harmonic and motivic processes open up and dynamize this formal framework. The interaction of adumbration and a (provisional) deferral of the harmonic and thematic goal is interpreted as a note of longing and thus in terms of a romantic aesthetic
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Daniel Harrison, Pieces of Tradition. An Analysis of Contemporary Tonal Music, New York: Oxford University Press 2016
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Einfall — Material — Geschichte Zur Bedeutung dieser Kategorien im Musikdenken Pfitzners und Schönbergs um 1910
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