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Dissertations / Theses on the topic 'Lieberman'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Albers, Thorsten [Verfasser], and Nicole von [Akademischer Betreuer] Lieberman. "Messung und Analyse morphologischer Änderungen von Ästuarwatten : Untersuchungen im Neufelder Watt in der Elbmündung / Thorsten Albers. Betreuer: Nicole von Lieberman." Hamburg-Harburg : Universitätsbibliothek der Technischen Universität Hamburg-Harburg, 2012. http://d-nb.info/1048542556/34.

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2

Albers, Thorsten [Verfasser], and von Sonnenberg Nicole [Akademischer Betreuer] Liebermann. "Messung und Analyse morphologischer Änderungen von Ästuarwatten : Untersuchungen im Neufelder Watt in der Elbmündung / Thorsten Albers. Betreuer: Nicole von Lieberman." Hamburg-Harburg : Universitätsbibliothek der Technischen Universität Hamburg-Harburg, 2012. http://nbn-resolving.de/urn:nbn:de:gbv:830-tubdok-11481.

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3

Maguire, Kaitlin Clare. "Paleobiogeography of Miocene to Pliocene Equinae of North America a phylogenetic biogeographic and niche modeling approach /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212778747.

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4

Pflugmacher, Birgit. "Max Liebermann - sein Briefwechsel mit Alfred Lichtwark -." [S.l. : s.n.], 2001. http://deposit.ddb.de/cgi-bin/dokserv?idn=961986166.

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5

Méndez-Flanigan, Maria Gisela. "Peter Lieberson's first piano concerto a Buddhist-inspired poetic vision realized through twelve-tone language, and other contemporary compositional techniques : together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki [sic] /." view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/mendez%5Fflanigan%5Fgisela/index.htm.

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6

Kenaston, Karen S. "An Approach to the Critical Evaluation of Settings of the Poetry of Walt Whitman: Lowell Liebermann's Symphony No. 2." Thesis, Online resource, 2003. http://www.library.unt.edu/theses/open/20031/kenaston%5Fkaren/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Original copy accompanied by 3 recitals, recorded Apr. 27, 2000, Nov. 28, 2000, and Oct. 31, 2001; videocassette not dated. Lacking in UMI copy. Includes bibliographical references (p. 141-149).

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7

DuHamel, Ann Marie. "Magical, dissonant, fantastic beauty: the solo piano nocturnes of Lowell Liebermann." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4618.

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This thesis explores the eleven solo piano nocturnes by living American composer Lowell Liebermann (b. 1961), to serve as a performer's guide. Characteristics of previous nocturnes provide historical context for Liebermann's pieces, illustrating similarities to the style developed by John Field, Frédéric Chopin, and Gabriel Fauré. Other musical influences on Liebermann, such as Ludwig van Beethoven and Ferruccio Busoni, demonstrate his relationship to the Western art music tradition and placement within the canon. Four distinct facets of Liebermann's musical style are presented: his reliance on traditional formal practices, motivic coherence, his particular harmonic vocabulary, and his use of texture. Liebermann's works use consonant triads, third relations, and smooth voice leading; because of these features, Neo-Riemannian models are suggested as a potential lens through which to view and analyze these pieces. In particular, hexatonic systems and their depiction of the musically "uncanny" relate to how Liebermann's music can have a sort of "defamiliarizing" and destabilizing effect on the listener. The salient musical features of motivic coherence, harmonic relationships, and formal innovations within tradition are presented for each nocturne alongside descriptions of musical character, to capture the essence and spirit contained within the works. The pieces verge on the fantastic and the rhapsodic, demonstrating Liebermann's imaginative approach to tradition. By utilizing a harmonic language that both synthesizes gestures of the past with a rich history of suggestive emotional content, and that innovates with a more modern and dissonant sensibility, Lowell Liebermann has achieved a distinctive musical vocabulary that captures the poetic and dark essence of nocturnes.

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8

Méndez-Flanigan, Maria Gisela. "Peter Lieberson's First Piano Concerto: A Buddhist-inspired poetic vision realized through twelve-tone language, other contemporary compositional techniques, together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3175/.

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The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.

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9

Uchino, Tomoko. "An Analysis of Three Impromptus for Piano Op. 68 by Lowell Liebermann." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195000.

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American composer Lowell Liebermann (b. 1961) wrote his Three Impromptus Op. 68 in 2000. They manifest his self-proclaimed intention to be a composer espousing the traditions of Western music and aiming to be part of that continuum. Liebermann’s Impromptus exhibit spontaneity and a sense of improvisation, the most pervasive aspect of the antecedent Impromptus. His personal lyricism embraces tempo rubato, inventive harmonies, distinctive textures, and dramatic gestures. Liebermann’s Impromptus, however, are tightly organized works employing simple motives that unify individual Impromptus within a basic tripartite template. This study begins with a brief summary of Liebermann’s life and then examines antecedent examples of Impromptus by Jan Vaclav Voříšek (1791-1825) and Franz Schubert (1797-1828) as well as some of the prominent composers from the 19th and 20th centuries, including Gabriel Fauré. A thorough analysis of Liebermann’s Impromptus constitutes the body of the document. Appendices contain transcriptions of the author’s interview with the composer himself, as well Antonio Pompa-Baldi and David Korevaar who have performed and recorded the Impromptus. These contemporary commentators confirm the value of comparing Liebermann’s music to earlier models to better understand how he creates his unique sound environment.

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10

Chang, Hsiao-Ling. "Lowell Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12: An Historical and Analytical Study." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30426/.

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Lowell Liebermann, born in New York City in 1961, is one of America's most distinguished living composers. In addition, he often conducts and performs as pianist in his own works. His musical language is unique and unmistakably rooted in the grand tradition of Western music; however, his style combines old and new, simple and complex, emotional and intellectual aspects. It combines tuneful, catchy melodies with a rich harmonic language, all framed by a strong formal design. This study begins with presenting primary information on this concerto excerpted from an interview with Lowell Liebermann. This interview served as a reference for subsequent sections, and a transcript of the interview is appended to the end of this study. In the third chapter, the musical language of the composer is discussed. Chapters four and five constitute the main body of this dissertation. The goal of these two chapters is to understand the basic three-pitch motive of the work, to demonstrate how it operates at various levels, and to see how the raw material corresponds at a larger structure level. It is the author's hope that this study will guide performers to better understand Liebermann's Concerto No. 1 for Piano and Orchestra, Opus 12.

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11

Liebermann, Anja [Verfasser]. "Werkstoffkundliche Untersuchungen CAD/CAM-gefertigter Restaurationsmaterialien zur Entwicklung zukunftsweisender prothetischer Behandlungskonzepte / Anja Liebermann." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2018. http://d-nb.info/1178323927/34.

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12

Liebermann, Per Jochen [Verfasser], and Frank [Akademischer Betreuer] Wilhelm-Mauch. "Optimal Control of Scalable Quantum Devices / Per Jochen Liebermann ; Betreuer: Frank Wilhelm-Mauch." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2017. http://d-nb.info/1152095412/34.

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13

Winegardner, Brian J. "A Performer's Guide to Concertos for Trumpet and Orchestra by Lowell Liebermann and John Williams." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/520.

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The purpose of this essay is to encourage the study and performance of trumpet concertos written by notable contemporary composers. The essay focuses on two outstanding trumpet concertos composed in recent years: Lowell Liebermann’s Concerto for Trumpet and Orchestra, op. 64 and John Williams’ Concerto for Trumpet and Orchestra. The essay specifically provides the following information: 1) a concise history of the concerto for trumpet, 2) a short biography of Lowell Liebermann and John Williams, 3) the history of Liebermann’s and Williams’ concertos for trumpet, 4) musical analysis of both concertos, 5) a soloist’s practice and performance guide to both works, and 6) a short list of other contemporary trumpet concertos worthy of study. Both Liebermann’s and Williams’ trumpet concertos acknowledge established musical convention, and neither uses any experimental performance techniques. However, both works are written in their own distinctive harmonic language, and each provides its own unique modifications to traditional forms and melodic shapes. Hopefully, this essay will advance the status of Liebermann’s Trumpet Concerto and Williams’ Trumpet Concerto in the history of the trumpet concerto genre and serve as a resource for those who wish to research, study, and perform Liebermann’s Concerto, Williams’ Concerto, or other contemporary trumpet concertos.

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14

Clark, Adam. "“Modern Marvels:” A Pedagogical Guide to Lowell Liebermann’s Album for the Young, Op. 43." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212086531.

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15

Zich, Tomáš. "Critical Analysis of the 'Terrorist Label'." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-203745.

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The terrorist label became recently so widely used. It strongly influenced the language of media, politicians and society. The security discourse is seemingly dominated by the counter-terrorism policy. Both the national and international legal systems introduced laws to avert the terrorist actions. Ironically, no universal definition of terrorism has been found yet so the use of the terrorist label depends mainly on own interpretation. The thesis aims to critically analyse the terrorist label and to determine if it prevents the conflict between so called terrorists and the rest of the society from peaceful resolution. The first chapter introduces theoretical and methodological framework of the research. It is followed by the analysis of the EU's designation of Hezbollah's military wing as a terrorist organization in the second chapter. A special attention is paid to the Israeli diplomatic pressure on the EU to blacklist Hezbollah which was selected as an appropriate example of the terrorist labelling.

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16

Clarke, Jay A. "The construction of artistic identity in turn-of-the-century Berlin : the prints of Klinger, Kollwitz, and Liebermann /." View online version; access limited to Brown University users, 1999. http://wwwlib.umi.com/dissertations/fullcit/9932384.

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17

Miethbauer, Sebastian [Verfasser], Bernd [Gutachter] Liebermann, Christian [Gutachter] Hertweck, and Matthias [Gutachter] Hamburger. "Isolierung, Strukturaufklärung und Biosynthese phytotoxisch wirksamer Anathrachinon-Derivate produziert von Ramularia collo-cygni und R. uredinicola / Sebastian Miethbauer ; Gutachter: Bernd Liebermann, Christian Hertweck, Matthias Hamburger." Jena : Friedrich-Schiller-Universität Jena, 2008. http://d-nb.info/1178251543/34.

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18

Liebermann, Anja [Verfasser], and Bruno [Akademischer Betreuer] Reichart. "Vergleich des retroaurikulären, linksventrikulären Unterstützungssystem (LVAD) Jarvik 2000 als neue Alternative zur Herztransplantation mit dem System mit abdomineller Stromversorgung als Überbrückung zur Herztransplantation / Anja Liebermann. Betreuer: Bruno Reichart." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2011. http://d-nb.info/1015734510/34.

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19

Liebermann, Marcus [Verfasser], Rolf [Akademischer Betreuer] Marschalek, Oliver Gerhard [Akademischer Betreuer] Ottmann, and Martin [Akademischer Betreuer] Ruthardt. "Die Bedeutung der Phosphatase STS-1 bei der Vermittlung einer mutationsunabhängigen Resistenz gegenüber Imatinib in der Ph+ ALL / Marcus Liebermann. Betreuer: Rolf Marschalek ; Oliver Gerhard Ottmann ; Martin Ruthardt. Gutachter: Rolf Marschalek ; Oliver Gerhard Ottmann." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2016. http://d-nb.info/1084758709/34.

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20

Luce, Brian. "Light From Behind the Iron Curtain: Anti-Collectivist Style in Edison Denisov's Quatre Pièces pour flûte et piano, With Three Recitals of Selected Works by Bach, Beaser, Carter, Fauré, Martin, Ibert, Liebermann, and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2564/.

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An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.

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21

Paltsev, Sergey, John M. Reilly, Henry D. Jacoby, A. Denny Ellerman, and Kok Hou Tay. "Emissions trading to reduce greenhouse gas emissions in the United States : the McCain-Lieberman Proposal." 2003. http://hdl.handle.net/1721.1/3595.

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The Climate Stewardship Act of 2003 (S. 139) is the most detailed effort to date to design an economy-wide cap-and-trade system for US greenhouse gas emissions reductions. The Act caps sectors at their 2000 emissions in Phase I of the program, running from 2010 to 2015, and then to their 1990 emissions in Phase II starting 2016. There is a strong incentive for banking of allowances, raising the costs in Phase I to achieve savings in Phase II. Use of credits from outside the capped sectors could significantly reduce the cost of the program, even though limited to 15% and 10% of Phase I and II allowances respectively. These credits may come from CO2 sequestration in soils and forests, reductions in emissions from uncapped sectors, allowances acquired from foreign emissions trading systems, and from a special incentive program for automobile manufacturers. The 15% and 10% limits increase the incentive for banking and could prevent full use of cost-effective reductions from the uncapped sectors. Moreover, some of the potential credits might contribute little or no real climate benefit, particularly if care is not taken in defining those from forest and soil CO2 sequestration. Analysis using the MIT Emissions Prediction and Policy Analysis model shows that costs over the two Phases of the program could vary substantially, depending on normal uncertainty in economic and emissions growth, and the details of credit system implementation.
Abstract in HTML and technical report in PDF available on the Massachusetts Institute of Technology Joint Program on the Science and Policy of Global Change website (http://mit.edu/globalchange/www/).

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22

Бикташев, Д. А., and D. A. Biktashev. "Опытно-конструкторская разработка системы диспетчирования для ГАЦ токарной обработки деталей типа «Фланец и Втулка» : магистерская диссертация." Master's thesis, 2015. http://hdl.handle.net/10995/39957.

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The author designed the dispatching system structure of metalcutting FMS, at that it was placed high emphasis on hardware recourses, in the course of study. The author analyzed present information transmission and encoding methods in FMS: uniform codes, codes with control at par, optimum code, Chudakov code and Huffman - Liberman codes. The last one is the best for given problem. It was created the original Huffman - Liberman codes synthesis algorithm, which is conformed to present hardware level of development. On the base of this algorithm it was coded the Huffman - Liberman codes synthesis program, which was taken out the Certificate of state program registration № 2013612951. Huffman - Liberman codes for Russian, Ukrainian and English alphabets and CNC machines executive program were synthesized with the help of this program. The results of the work were published in four scientific-technical journals. In the course of study the author designed automatic guided vehicle control system, which involves rate of movement, motion path, positioning and acceleration -braking control systems. The latest two systems are original, which are designed by the author. Designed positioning control system allows to program the break time of automatic guided vehicle and avoid missing of stop place. This system took out a patent of Russian Federation № 130540. Designed acceleration -braking control system allows to change automatic guided vehicle speed fluently (without stage), and to change rate of acceleration -braking and maximum speed depending on cargo tonnage. This system took out a patent of Russian Federation № 132278. Engineering solutions, introduced in the work, can be used at any metalcutting FMS.
В ходе научной работы была разработана структура системы диспетчирования ГАЦ механообработки, при этом особое внимание было уделено средствам технического обеспечения разработанной системы. Были рассмотрены и проанализированы существующие методы передачи и кодирования информации в ГПС: равномерные коды, коды с контролем по паритету, оптимальные коды, коды Чудакова и коды Хаффмена - Либермана. Наиболее оптимальными для решения поставленных задач являются последние. Был создан оригинальный алгоритм синтеза кодов Хаффмена - Либермана, отвечающий современному уровню развития вычислительной техники, на основе которого была написана программ синтеза кодов Хаффмена - Либермана, получившая Свидетельство о государственной регистрации программы для ЭВМ № 2013612951. С помощью данной программы были получены коды Хаффмена - Либермана для управляющих программ станков ЧПУ, русского, украинского и английского алфавитов. Результаты работы были опубликованы в трех научно-технических журналах. В ходе работы также была разработана система управлением робокаром, включающая в себя системы управления скоростью движения, траекторией движения, позиционирования и разгоном - торможением робокара, при этом две последние системы являются оригинальными, разработанными автором диссертации. Разработанная система управления позиционированием робокара, в отличии от существующих аналогов, позволяет программировать время выстоя робокара и избежать "проскока" требуемой позиции остановки. На данную систему был выдан Патент РФ № 130540. Разработанная система управления разгоном - торможением робокара, в отличие от существующих аналогов, позволяет осуществлять регулирование скорости привода плавно, без ступеней, а также способна изменять темп разгона - торможения и максимальную скорость автоматически в зависимости от массы перевозимого груза. На данную систему был выдан Патент РФ № 132278. Технические решения, предложенные в диссертации могут рассматриваться как типовые для ГАП механообработки.

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23

Pflugmacher, Birgit [Verfasser]. "Max Liebermann - sein Briefwechsel mit Alfred Lichtwark - / Birgit Pflugmacher." 2001. http://d-nb.info/961986166/34.

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24

Liebermann, Holger [Verfasser]. "Entwicklung einer supraleitenden CH-Beschleuniger-Struktur für leichte und schwere Ionen / von Holger Liebermann." 2008. http://d-nb.info/988314495/34.

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25

Ko, Chia-Lin, and 柯佳琳. "The Analysis and Interpretation of Concerto for Flute and Orchestra op.39 by Lowell Liebermann." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/dx37fx.

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26

Lieberam-Schmidt, Sabine [Verfasser]. "Die Stimmrechtsvertretung im Aktien- und GmbH-Recht / Sabine Lieberam-Schmidt." 2010. http://d-nb.info/1010652885/34.

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"Measurement of Excess Molar Enthalpies of Binary and Ternary Systems Involving Hydrocarbons and Ethers." Thesis, 2014. http://hdl.handle.net/10388/ETD-2014-05-1540.

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The study of excess thermodynamic properties of liquid mixtures is very important for designing the thermal separation processes, developing solution theory models and to have a better understanding of molecular structure and interactions involved in the fluid mixtures. In particular, heat of mixing or excess molar enthalpy data of binary and ternary fluid mixtures have great industrial and theoretical significance. In this connection, the experimental excess molar enthalpies for seventeen binary and nine ternary systems involving hydrocarbons, ethers and alcohol have been measured at 298.15K and atmospheric conditions for a wide range of composition by means of a flow microcalorimeter (LKB 10700-1). The binary experimental excess molar enthalpy values are correlated by means of the Redlich-Kister polynomial equations and the Liebermann - Fried solution theory model. The ternary excess molar enthalpy values are represented by means of the Tsao-Smith equation with an added ternary term and the Liebermann-Fried model was used to predict ternary excess molar enthalpy values. The Liebermann-Fried solution theory model was able to closely represent the experimental excess enthalpy data for most of the binary and ternary systems with reasonable accuracy. The correlated and predicted excess molar enthalpy data for the ternary systems are plotted in Roozeboom diagrams

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28

Zwar, Natalie. "The perspective of the composer and performer: the interpretation and performance of selected flute works by Lowell Liebermann and Robert Beaser." 2009. http://hdl.handle.net/2440/57908.

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This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

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Garner, Lisa Michelle. "Lowell Liebermann: A stylistic analysis and discussion of the Sonata for Flute and Piano, op. 23, Sonata for Flute and Guitar, op. 25, and "Soliloquy" for flute solo, op. 44." Thesis, 1997. http://hdl.handle.net/1911/19160.

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The compositional style of three chamber works for flute by Lowell Liebermann is explored through harmonic and formal analyses, an interview with the composer, Lowell Liebermann, and interviews with the flutists who commissioned the works, Paula Robison and Katherine Kemler. Liebermann's musical style, as represented in three chamber works, is explained as a continuation of Classical and Romantic traditions. Variants of the classic Sonata Allegro and Rondo forms are employed. Traditional techniques such as augmentation, diminution, retrograde and sequence are utilized. Contrast is provided by the composition of dramatically contrasting thematic material and frequent changes in texture. Works are tightly organized with cyclic material as well as thematic overlapping, fusion, and transformation. Tonally, Liebermann has combined functional harmony with polytonality. Although the tonal areas employed in these works are almost always closely related, each is usually combined with a second tonal region. For example, in the Sonata for Flute and Guitar, E major is usually superimposed on E minor. In the case of the Soliloquy, tonalities are combined to stress the important intervallic relationship of the tritone. The expressive abilities of the flute are drawn upon in Liebermann's approach to melody. The long, sustained lines of the lyrical sections are colored with a wide range of dynamics and therefore demand a high level of musical maturity from the performers. This is contrasted with fast, intensely rhythmical sections or movements which showcase technical virtuosity. All three works are well-constructed, sophisticated works of art, yet they are accessible to any audience. The Sonata for Flute and Piano and the Soliloquy for Flute Solo have already made their way into the standard flute repertoire. Liebermann has made a major contribution to the contemporary flute repertory.

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30

Ditteney, Eva [Verfasser]. "Skandinavier in Berlin : Untersuchung zur Malerei von Lovis Corinth, Akseli Gallen-Kallela, Walter Leistikow, Max Liebermann, Edvard Munch und Anders Zorn anhand ihrer Ausstellungstätigkeit in Berlin zwischen 1892 und 1910 / vorgelegt von Eva Ditteney." 2009. http://d-nb.info/1007969296/34.

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