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Dissertations / Theses on the topic 'Mendelsohn'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Nitzan-Shiftan, Alona. "Erich Mendelsohn : from Berlin to Jerusalem." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12377.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.<br>Includes bibliographical references (leaves 176-186).<br>This paper examines the creative persona of Erich Mendelsohn's seemingly incompatible bodies of architecture in Europe, Palestine and the U.S. The limits of existing formal analysis to explain his architectural shifts were the impetus for investigating the architectural position that facilitated not only Mendelsohn's iconic architecture in Germany, but its appropriation to Palestine as well. Beside his artistic ambiance, is also Mendelsohn's religious faith, national identity and political convictions. Mendelsohn was part of the Jewish post-assimilated generation in Germany - this experience is extended by Mendelsohn to the art of building, which was facilitated intellectually by Martin Buber's (early) teaching about the creative Jewish yearning for unity. The paper focus on how Mendelsohn's consistent architectural and political position discloses itself first in the industrial West (Germany), where it engaged the striving architectural debated of the period, and then in the Orient. In Palestine, where he took part in the "cultural Zionist" agenda, he remolded Modern Architecture into a non- Western country.<br>by Alona Nitzan-Shiftan.<br>M.S.
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STAVAGNA, MICHELE. "I fotolibri di Erich Mendelsohn e l'immagine del moderno." Doctoral thesis, Università IUAV di Venezia, 2005. http://hdl.handle.net/11578/278510.

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Krah, Markus. "Salman Schocken und Erich Mendelsohn. Neuerscheinungen zu Leben, Werk und Verbindungen." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2017. https://slub.qucosa.de/id/qucosa%3A34736.

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4

Mendelsohn, Brittany Jennifer. "Factors influencing big sagebrush cover in Southwest Montana." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/mendelsohn/MendelsohnB1210.pdf.

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The sagebrush steppe provides important habitat to many wildlife species. Conifer expansion of Douglas-fir and Rocky Mountain juniper into this area is a growing concern. Currently management focuses on the removal of Rocky Mountain juniper. The primary objective of this study was to determine the relationship between live sagebrush cover and aspect, slope, elevation, soil texture, soil depth and rock outcroppings. The second objective was to compare Douglas-fir and Rocky Mountain juniper's canopy areas at comparable ages. Percent cover of shrubs and conifers as well as the abiotic factors were recorded at forty Wyoming and forty mountain big sagebrush plots at each of three study sites in southwest Montana (Pipestone, Elkhorn, and Whitetail) (n = 240). The best-fit model utilizes the terms site, sagebrush subspecies, square root of conifer cover and site by sagebrush subspecies as the independent variables, with square roots of sagebrush cover as the dependent variable. The model found that abiotic factors had no correlation (p&gt;0.05) with live sagebrush cover, but conifer cover had a negative effect on sagebrush cover. Equations were developed to predict canopy area of Douglas-fir and Rocky Mountain juniper thru time. Our findings suggest conifers should not be removed to increase sagebrush cover due to low response of sagebrush cover. Douglas-fir is the dominant conifer on these sites and has three times more canopy than Rocky Mountain juniper at similar ages (p&lt;0.001). Rocky Mountain juniper is generally thought to have higher food and cover values for deer and elk and upland game birds compared to Douglas-fir (Gunderson 1990, Kufeld 1973). Therefore, the current practice of removing Rocky Mountain juniper to increase sagebrush cover should not be continued.
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Hayt, Andrew, and Andrew Hayt. "Critical Approaches to Architectural Environments: The Photography of Eric Mendelsohn and Wolfgang Tillmans." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/624142.

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This thesis is concerned with the development and implications of a critical mode of inquiry into the architectural environment as it is articulated in the photographic projects of German artists Eric Mendelsohn (1887-1953) and Wolfgang Tillmans (b. 1968). These projects are understood as being in opposition to a conventional subordination of photography to architecture. The architectural photograph has consistently been reduced to the role of a tool in the proliferation of structures of global capitalism, facilitating the rise of homogeneous and disconnected built environments. Through an examination and comparison of Mendelsohn’s 1926 book Amerika: Bilderbuch eines Architekten with Tillmans' 2014 video installation Book for Architects, this thesis argues that the visual strategies employed in these works reflect similar concerns regarding the state of architectural practice, providing alternative avenues of inquiry for architects, and highlighting the necessity for deeper engagement with the phenomenological qualities of the architectural environment.
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Correa, Sabrina Mello Alves. "O uso do biofeedback eletromiográfico no treinamento para correta execução da manobra de Mendelsohn em portadores de doença de Machado-Joseph: estudo prospectivo randomizado." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/5/5154/tde-10032010-115552/.

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INTRODUÇÃO: na reabilitação da disfagia faríngea, a manobra de Mendelsohn (MM) é a única descrita como efetiva para o trabalho de elevação da laringe e seqüente abertura do segmento faringo-esofágico, desde que executada corretamente. OBJETIVO: avaliar a eficácia do uso do biofeedback eletromiográfico no processo de treinamento para correta execução da manobra de Mendelsohn em portadores de Doença de Machado-Joseph (DMJ), com disfagia alta. CASUÍSTICA: participaram deste estudo 20 indivíduos sem queixas quanto à deglutição e 20 disfágicos, portadores de DMJ, que se equiparavam em termos de distribuição de sexos e média de idade, tinham cognitivo preservado, e foram separados em grupos: A e C, de disfágicos, e B e D, de controles. MÉTODOS: todos foram submetidos a anamnese dirigida, avaliação clínica da deglutição e a eletromiografia para verificação do tempo de sustentação da elevação da laringe, repetida depois de treinamento para correta execução da manobra de Mendelsohn, feito com (grupos A e B) ou sem (grupos C e D) a utilização do biofeedback eletromiográfico.Dificuldades relacionadas à realização da MM foram observadas diretamente e relatadas em resposta a questionário. RESULTADOS: a comparação dos disfágicos com os controles não evidenciou diferenças marcantes quanto à avaliação clínica da fase oral da deglutição, pois os doentes demonstravam apenas déficits quanto a protrusão, retração e tônus da língua. Entretanto, quanto à fase faríngea, mostraramse diferenças mais significativas, com os disfágicos apresentando, à deglutição de líquidos e sólidos, estase faríngea, acompanhada de tosse e/ou engasgo e penetração e/ou aspiração, alterações ausentes nos controles. Houve significante aumento do tempo de sustentação da elevação da laringe, de controles e pacientes, à deglutição de saliva, durante a realização da manobra de Mendelsohn, após o treinamento, principalmente se conduzido com suporte de biofeedback eletromiográfico. O mesmo ocorreu com a deglutição de iogurte, pastoso, consistência preferida pelos pacientes. Os pacientes do grupo A chegaram a atingir o mesmo desempenho que seus controles (grupo B), à realização da MM. À observação direta de dificuldades encontradas durante a realização da manobra, notou-se dificuldade para sustentar a elevação da laringe. Quando os indivíduos foram inquiridos a respeito, destacou-se dificuldade de entendimento da MM. De significante, extraiu-se, à observação direta e ao inquérito, que os pacientes têm mais expressivas dificuldades de controle respiratório durante a realização da MM do que os controles. CONCLUSÕES: 1. o treinamento orientado, verbal e gestual, para a correta execução da MM, é capaz, por si só, de aumentar o tempo de sustentação da elevação da laringe em portadores de DMJ e controles; 2. o biofeedback eletromiográfico agrega valor ao treinamento, promovendo ainda maior tempo de sustentação da elevação da laringe, à execução da MM, em portadores de DMJ, que atingem índices semelhantes aos dos controles, na deglutição de saliva e de pastoso; 3. os portadores de DMJ apresentam freqüentemente dificuldade de controle respiratório, sem repercussão clínica, durante a aplicação da MM.<br>Introduction: In the rehabilitation of pharyngeal dysphagia, the Mendelsohn maneuver (MM) is the only technique described as effective for elevating the larynx with subsequent opening of the esophageal-pharyngeal segment, provided it is correctly performed. Objective: To evaluate the efficacy of electromyographic biofeedback for training of the Mendelsohn maneuver in Machado-Joseph patients (MJD) with high dysphagia. Case Studies: Forty individuals participated in this study, including twenty with no complaints of deglutition and twenty MJD dysphagic patients , who were all similar in terms of gender distribution, average age, and cognitive function. Method: The medical history of each patient was reviewed. Each subject underwent a clinical evaluation of deglutition, as well as electromyography to determine the amount of time for which larynx elevation was sustained. Electromyography was repeated following achievement of the correct performance of MM. Training for MM was completed with (groups A and B) or without (groups C and D) electromyographic biofeedback. Difficulties related to performance of MM were observed directly and reported through the completion of a questionnaire. Results: Comparison between dysphagic patients and controls did not reveal significant differences with respect to the clinical evaluation of the oral phase of deglutition, since afflicted patients only demonstrated deficits related to the protrusion, retraction and tonus of the tongue. However, significant differences were observed with respect to the pharyngeal phase. Dysphagic patients presented with pharyngeal stasis during deglutition of liquids and solids, accompanied by coughing and/or choking as well as penetration and/or aspiration; these symptoms were absent in the controls. After training, there was a significant increase during MM in the time of larynx elevation as well as in the deglutition of saliva in both controls and patients. The time of larynx elevation was further increased when training was conducted with electromyographic biofeedback support. Similar results were found for the deglutition of yogurt, which has a pasty consistency preferred by the patients. Group A patients performed MM at the same level of competency as controls (group B). During direct observation, difficulties in sustaining the elevation of the larynx were noted. Questioning of the individuals experiencing difficulty revealed a lack of understanding with respect to MM. Specifically, it was determined that patients had more pronounced difficulty in respiratory control during MM as compared to normal controls. Conclusions: 1. Guided training, both verbal and gestural, for correct performance of the MM can increase the time of sustained larynx elevation in MJD patients and controls; 2. The use of electromyographic biofeedback during training further increases the time of sustained larynx elevation in MJD patients, allowing them to reach indexes similar to those of controls with respect to deglutition of saliva and semi-fluids; 3. Carriers of MJD frequently have difficulty in respiratory control, but without clinical repercussions, during the application of MM.
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Rudolph, Lars. "La Torre Einstein de Erich Mendelsohn en los primeros años de trabajo del arquitecto." Doctoral thesis, Universitat Politècnica de Catalunya, 2017. http://hdl.handle.net/10803/456243.

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The leading figure of Erich Mendelsohn has been the subject of extensive and in-depth researches, both for his importance as an architect as for his role in the history of modern design. Conversely, not much has been written on his background, his thinking and “what we could define” his intellectual world. It is therefore very interesting analyzing what lies behind his projects and investigating the `¡”connection between human and artistic values”. The thesis hence begins with looking into his childhood, in a Jewish family integrated into the Prussian-German culture and located in Allenstein. This peculiar enclave is key in the development of the well-established personality of an “integrated dissenting” or -as he defined himself- an “Eastern German”. After giving up university twice (International Trade and Law), the young Erich settles for studying Architecture, against the will of his parents, and answering his personal doubts that were leading him towards studying painting. He studies Architecture in Berlin and then in Munich. In both cities, he gets in touch with the art establishment and its leading personalities, following his artistic interests while pursuing his university degree. His sentimental relationship with the violoncellist Luise Maas, which will soon become his wife, is his gateway to the contemporary art scene as well as the one to the high bourgeoisie. This sociocultural environment shapes his first artistic reflections and architectural projects. While supremely confident in his artistic skills, the young Mendelsohn starts building his intellectual world’s roots: he interprets Lessing, Nietzsche and Buber’s writings; he explains Hildebrand and studies Worringer and Cohn-Wiener. These readings and the travels undertaken in between 1913 and 1914 affect his ideas on monumental architecture and concrete. In this period, he begins drawing: a creative process, which has its outburst in the summer of 1917, when facing the threats of war in the trenches. In the same period, he develops his theory of “architectural revelations, a process that will follow him throughout his life and that will soon translate into a real life construction: the Einstein Tower, an institute dedicated to the relativity theory for his friend Erwin Freundlich. The path from the architect’s conception to the final execution will take 3 years. During this time, Mendelsohn will go through not less than six design phases in order to find a solution to express the construction’s purpose through its shape and the adequate material (it seems made of concrete but it is built with of a mixture of bricks and concrete). In 1920 the Einstein Tower is finally built, an emblematic work for the history of modern architecture. At the same time, the Tower represents a milestone in both the architect’s professional and personal life. This construction ushered his instant career while closing his first creative phase: it is a considerably different work compared to those the architect will realize later on. This is the reason why the reception of the Einstein Tower in literature has been different in each moment and has been directly connected to the changing evaluation of Erich Mendelsohn’s overall work.<br>La figura de Erich Mendelsohn, tanto por su importancia como arquitecto como por su papel en la historia del diseño moderno, ha sido objeto de amplios y profundos estudios. Poco, en cambio, se ha escrito sobre su formación, su pensamiento, su -podríamos decir- mundo intelectual. Resulta entonces muy interesante analizar lo que está detrás de sus proyectos, buscar la «conexión entre los valores humanos y artísticos». En la tesis, por lo tanto, se comienza mirando a su infancia, en el seno de una familia judía asimilada a la cultura alemana prusiana, en la ciudad de Allenstein. Se trata de un enclave muy peculiar que contribuye a la formación de una bien definida personalidad: la de un “inconforme bien integrado” o, como él mismo se define, un “alemán oriental”. Después de abandonar dos carreras (la de comercio i la de derecho), el joven Erich, en contra del deseo de sus padres, decide estudiar arquitectura, dando así una respuesta a sus dudas personales que le empujan también a los estudios de pintura. Estudia arquitectura primero en Berlín luego en Múnich, y en ambas ciudades entra en contacto con los círculos artísticos y sus protagonistas, siguiendo de esta forma sus intereses artísticos de manera complementaria a la carrera universitaria. Su relación sentimental con la violoncelista Luise Maas, que pronto será su esposa, le abre las puertas no sólo de las esferas artísticas sino también de los salones de la alta burguesía. Es en este ambiente sociocultural que plasma sus primeras reflexiones artísticas y sus primeros proyectos arquitectónicos. El joven Mendelsohn con una profunda confianza en su capacidad artística echa en estos años también las raíces de su mundo intelectual: interpreta los escritos de Lessing de Nietzsche o de Buber, explica Hildebrand y estudia Worringer y Cohn-Wiener. Tanto estas lecturas como los viajes realizados en los años 1913 y 1914, influyen en sus ideas sobre una arquitectura monumental y de hormigón. Es justamente en esta época que empieza a dibujar: un proceso creativo que tiene su explosión cuando se enfrenta a los peligros de la guerra en las trincheras, en el verano de 1917. Allí es donde el arquitecto desarrolla su teoría de las “revelaciones arquitectónicas”, un proceso que le acompañará toda su vida, y que ya enseguida va a traducir en una obra concreta. Se trata de un instituto para su amigo Erwin Freundlich dedicado a la teoría de la relatividad, en el edificio que se llamará Torre Einstein. El camino desde la visión del arquitecto hasta la realización del proyecto, con una solución para expresar a través de la forma la función y con el material adecuado, necesita finalmente 3 años y no menos de 6 diferentes fases de diseño y acaba con un gran compromiso entre forma y material (parece hormigón, pero está construido de una mezcla entre ladrillo y hormigón). Es en 1920 cuando finalmente se construye la Torre Einstein, obra emblemática para la historia de la arquitectura moderna. La Torre representa también un hito en la vida profesional y personal del arquitecto, marcando el inicio de su fulminante carrera y al mismo tiempo el final de su primera fase creativa: se trata de una obra considerablemente diferente de todo aquello que el arquitecto realizará después. Es por eso que, desde su construcción hasta nuestros días, la recepción de la Torre Einstein en la literatura ha sido diferente en cada momento, y ha estado directamente conectada a la mudable valoración de la obra total de Erich Mendelsohn
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Westermann, Antje, Nicole Stadie, and Ulrike Frank. "Messung der Atem-Schluck-Koordination während normalem Schluck und unter Anwendung des Mendelsohn-Manövers." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2011/5428/.

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Leiter, R. Jeffrey. "Erich Mendelsohn--constructing an image of modernity between Expressionism and the 1920's avant-garde." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/68325.

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Mendelsohn, Juliane K. [Verfasser]. "Systemrisiko und Wirtschaftsordnung im Bankensektor : Zum Ende von Too Big To Fail / Juliane K. Mendelsohn." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2018. http://d-nb.info/1175743089/34.

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Mendelsohn, Juliane [Verfasser]. "Systemrisiko und Wirtschaftsordnung im Bankensektor : Zum Ende von Too Big To Fail / Juliane K. Mendelsohn." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2018. http://nbn-resolving.de/urn:nbn:de:101:1-2019011902255182939641.

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Jäckel, Annemarie, and Ulrike Frank. "Effekte des Mendelsohn Manövers auf die Atem-Schluck-Koordination : eine Untersuchung der intra-individuellen Variation bei gesunden Erwachsenen." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/6249/.

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Bardizbanian, Audrey. "Après la Shoah : écritures de la trace dans les œuvres de Jonathan Safran Foer, Daniel Mendelsohn, et Art Spiegelman." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040183.

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Cette étude propose d’explorer les œuvres de Jonathan Safran Foer, Daniel Mendelsohn, et Art Spiegelman, à travers la notion de trace, principe fondateur de l’esthétique et de l’éthique des écritures de l’après-Shoah. L’expérience lacunaire de ces « générations d’après » implique la présence d’une « postmémoire », dont le caractère « différé » sollicite le travail de l’imagination et informe la démarche créatrice de ces artistes et écrivains de l’après, qui reconstruisent le passé de leurs familles. Ces récits de la hantise sont marqués par une « mémoire trouée », et découlent souvent d’une rupture de la filiation, donc d’une défaillance de la transmission. Engagés dans une quête de savoir, narrateurs et protagonistes interrogent l’événement à partir de traces matérielles, ainsi qu’au travers de retours, réels et imaginaires, sur les lieux de l’origine. Ces récits sont composés de matériaux hétérogènes qui créent des ruptures visuelles, et sont informés par divers dérèglements temporels : désordres, disruptions chronologiques, latence et répétition – tous symptomatiques de l’après-coup du trauma. Ces textes postmémoriels posent enfin la question de l’éthique de la représentation. Performativité de la langue, fictionnalisation de l’Histoire, et enjeux de la transmission sont au cœur de ces œuvres en devenir, et interrogent l’éthique de la responsabilité de leurs auteurs, entre passation et travail de deuil<br>This study explores the works of Jonathan Safran Foer, Daniel Mendelsohn, and Art Spiegelman through the notion of trace, the founding principle of the aesthetics and ethics of post-Holocaust writing. The incomplete knowledge of these “post-Holocaust generations” implies the presence of a “postmemory”, the “deferred” nature of which requires the imagination to be put to work and informs the creative approach of these post-Holocaust artists and writers, reconstructing their family’s past. These haunting narratives are marked by a “memory shot through with holes” and are often the result of a break in the bond of filiation, and therefore a hiatus of transmission. Having embarked on a quest for knowledge, narrators and protagonists examine the event through material traces, as well as real or imaginary returns to their places of origin. These narratives are made up of heterogeneous elements which create visual ruptures and are informed by various temporal disruptions: disorders, chronological breaks, latency and repetition – all symptomatic of the deferred action of trauma. Finally, these postmemorial texts raise the issue of the ethics of representation. The performativity of language, the fictionalization of History, and the issue of transmission are at the heart of these works in the making, and ethically question their authors’ responsibility, between transfer and the work of mourning
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Förster, Simone. "Masse braucht Licht Arthur Kösters Fotografien der Bauten von Erich Mendelsohn ; ein Beitrag zur Geschichte der Architekturfotografie der 1920er Jahre." Berlin dissertation.de, 2006. http://d-nb.info/990521796/04.

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Lackmann, Thomas. "Der Sohn meines Vaters : Abraham Mendelssohn Bartholdy und die Wege der Mendelssohns /." Göttingen : Wallstein-Verl, 2007. http://d-nb.info/982101686/04.

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Lackmann, Thomas Mendelssohn-Bartholdy Abraham. "Der Sohn meines Vaters : Abraham Mendelssohn Bartholdy und die Wege der Mendelssohns /." Göttingen : Wallstein-Verl, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2881396&prov=M&dok_var=1&dok_ext=htm.

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Wheeler, Karen Michelle. "Hyoid movement and sEMG activity during normal discrete swallows, Mendelsohn maneuver, effortful swallow and expiratory pressure threshold tasks in healthy adults." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0015360.

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Tarpenning, Emily. "Fanny Mendelssohn Hensel : A Bridge between Felix Mendelssohn and Johannes Brahms." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278182/.

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This thesis is a study of four compositions written by Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn. Her music is compared with four pieces composed by Felix. This study shows that Fanny was a gifted and creative composer, even surpassing Felix and predating Brahms with her compositional ideas and progressive uses of harmony. Despite her excellent education and recognition among those who knew her well, she did not publicize her talent in any way because of pressure from her father, Abraham, and Felix to stay within the prescribed societal confines of wife and mother.
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Vogt, Wolfgang. "Moses Mendelssohns Beschreibung der Wirklichkeit menschlichen Erkennens /." Würzburg : Königshausen & Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2683486&prov=M&dok_var=1&dok_ext=htm.

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Voigts, Manfred, and Andreas Kennecke. "Euchel, Mendelssohn, Herder und Andere." Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/2230/.

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Schröder, Gesine. "Mendelssohn als Modell für Kompositionsschüler." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61662.

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In der zweiten Hälfte des 19. Jahrhunderts spielte Mendelssohns Musik in Kompositionslehren noch eine keineswegs unbedeutende Rolle. Insbesondere in deren Abteilungen zur sogenannten freien Komposition, soweit sie Fragen der musikalischen Form und der Orchestration betrafen, wurde Mendelssohn oft zitiert. Vor allem in Salomon Jadassohns Kompositionslehre erlangte sein Werk Modellcharakter. Der Beitrag zeigt, wie dieser Lehrer am Leipziger Konservatorium im späten 19. Jahrhundert auf der einen Seite Mendelssohns musikalische und ästhetische Haltung fortwirken lassen wollte, wie er sich jedoch andererseits bereits vorsichtig von gewissen Aspekten des Mendelssohnschen Komponierens distanzierte. Aus um 1900 geschriebenen Lehren verschwindet Mendelssohns Name zusehends ebenso wie die Namen jüdischer oder französischer Komponisten wie Halévy oder Meyerbeer<br>In the second half of the 19th century Mendelssohn’s music played a prominent role in treatises upon composition. Especially the volumes on socalled „free composition“, including recommendations concernig musical forms, instrumentation and orchestration, often quote from his works. Mendelssohn claimed the figure of a model-composer. The paper concentrates on Mendelssohn as a model for young composers, as it was given by teachers at the Leipzig conservatoire. Treatises upon musical forms and instrumentation, written by Mendelssohn’s successors at the conservatoire show how the teachers on the one hand try to continue Mendelssohn’s compositional attitude and on the other hand try to part themselves from certain aspects of Mendelssohn’s music
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Waggener, Joshua Alton. "Mendelssohn and the musical sublime." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10610/.

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How does the aesthetic category of the sublime, in its various formulations from the eighteenth and early-nineteenth centuries, assist in explaining the significance of Felix Mendelssohn and his compositions to English and German audiences in his lifetime and beyond? Due to the conceptual proximity of a number of formulations of the sublime to primary traits of his compositional output, Mendelssohn’s life and work can be understood through the categories of sublime aesthetics. Despite challenges in his reception and complexities in modern scholarship, Mendelssohn’s biography and musical accomplishments consistently show conceptual and contextual relations to a wide variety of sublime formulations. Mendelssohn’s early life and works display a prodigious musical talent impacted by multiple sublime influences, including the ‘sublime’ music of George Frideric Handel. His most popular early overtures – Midsummer Night’s Dream, Calm Sea and Prosperous Voyage, and The Hebrides – demonstrate connections with an even wider range of sublime objects and concepts. Although Mendelssohn’s works from the 1830s and 1840s show an increasing appreciation for historical genres and forms, this does not represent a ‘decline’ from ‘sublime’ standards of originality, but an ‘ascent’ to new heights of ‘genius’, according to early nineteenth-century standards. His late works such as the Lobgesang, the Berlin Psalm Introits, and Elijah confirm his ability to create music modelled on sublime predecessors, communicating ‘Grand Concepts’, and expressing ineffable feeling. Overall, this thesis aims to show that the sublime can serve to evaluate the music of Mendelssohn using contextually-appropriate aesthetic concepts, thus offering a new understanding of his compositional accomplishments.
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Jourdan, Paul. "Mendelssohn in England, 1829-37." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272810.

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Lee, Pyng-Na. "Psalms of Felix Mendelssohn-Bartholdy." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin965229438.

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Benarroche, Laurence. "Le miroir et l'oblique : le lecteur mis à l'épreuve : mémoire de la Shoah dans l'écriture américaine contemporaine : Everything is illuminated de Jonathan Safran Foer, The history of love et Great house de Nicole Krauss, The lost de Daniel Mendelsohn." Thesis, Aix-Marseille, 2020. http://www.theses.fr/2020AIXM0010.

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Cette thèse a pour objet d’examiner comment des auteurs juifs américains contemporains renouvellent l’écriture de la Shoah au XXIe siècle en plaçant le lecteur au cœur de l’entreprise de transmission qui leur tient à cœur. Ces textes post-modernes – hybrides et foisonnants – reflètent le traumatisme qui a été transmis aux auteurs, tous issus de familles partiellement décimées pendant la Shoah, qui appartiennent à la troisième génération, dite « génération passerelle » car ils sont les derniers à avoir rencontré des survivants de la Shoah. Récits de post-mémoire, ils traitent davantage de l’après-coup de la Shoah et de la difficulté à mettre en mots une histoire lacunaire que des événements eux-mêmes. Ils requièrent ainsi une participation imaginative de la part du lecteur et entendent à la fois l’édifier et susciter chez lui une émotion authentique basée sur l’empathie qui représente la seule vérité qui reste de la Shoah après la disparition des derniers survivants et témoins<br>This thesis aims at studying the role explicitly assigned to the reader by contemporary authors of recent American writings dealing with the Holocaust’s aftereffects. These post-memory narratives which all bear physically the family trauma inherited by the authors require an active participation from the reader who is placed in a similar position as the one the authors once found themselves in, forced to use his imagination, question the unknown and embark on a quest for facts that may lead him to unexpected questionings. The “bridging generation” is the last direct link that exists between Holocaust survivors and contemporary readers and third-generation writers are aware of their responsibility as memory passers
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Seebacher, Robert J. "AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/29.

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The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.
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Schröder, Gesine. "Mendelssohn - a model for young composers." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61678.

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In der zweiten Hälfte des 19. Jahrhunderts spielte Mendelssohns Musik in Kompositionslehren noch eine keineswegs unbedeutende Rolle. Insbesondere in deren Abteilungen zur sogenannten freien Komposition, soweit sie Fragen der musikalischen Form und der Orchestration betrafen, wurde Mendelssohn oft zitiert. Vor allem in Salomon Jadassohns Kompositionslehre erlangte sein Werk Modellcharakter. Der Beitrag zeigt, wie dieser Lehrer am Leipziger Konservatorium im späten 19. Jahrhundert auf der einen Seite Mendelssohns musikalische und ästhetische Haltung fortwirken lassen wollte, wie er sich jedoch andererseits bereits vorsichtig von gewissen Aspekten des Mendelssohnschen Komponierens distanzierte. Aus um 1900 geschriebenen Lehren verschwindet Mendelssohns Name zusehends ebenso wie die Namen jüdischer oder französischer Komponisten wie Halévy oder Meyerbeer<br>In the second half of the 19th century Mendelssohn’s music played a prominent role in treatises upon composition. Especially the volumes on socalled „free composition“, including recommendations concernig musical forms, instrumentation and orchestration, often quote from his works. Mendelssohn claimed the figure of a model-composer. The paper concentrates on Mendelssohn as a model for young composers, as it was given by teachers at the Leipzig conservatoire. Treatises upon musical forms and instrumentation, written by Mendelssohn’s successors at the conservatoire show how the teachers on the one hand try to continue Mendelssohn’s compositional attitude and on the other hand try to part themselves from certain aspects of Mendelssohn’s music
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Zappalà, Pietro. "Le Choralkantaten di Felix Mendelssohn-Bartholdy /." Venezia : Edizioni Fondazione Levi, 1991. http://catalogue.bnf.fr/ark:/12148/cb38831940f.

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Hoensbroech, Raphael von. "Felix Mendelssohn Bartholdys unvolledetes Oratorium Christus /." Kassel : G. Bosse, 2006. http://catalogue.bnf.fr/ark:/12148/cb40125335r.

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30

Rice, Kelly S. (Kelly Stanley). "Joseph Gould and the Montreal Mendelssohn Choir." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61098.

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Joseph Gould was an important figure in the musical life of late nineteenth-century Montreal. His activities as a church musician, piano and organ dealer, and journalist made a considerable impact on artistic life in the city. But it was as the founder and conductor of the Montreal Mendelssohn Choir that Gould's influence was most keenly felt. Founded in 1864, the Mendelssohn Choir enjoyed a thirty-year lifespan and became famous for its high standard of performance. The library of the Choir, housed at the Marvin Duchow Music Library of McGill University, is an important collection, not only because of the presence of a number of interesting pieces of Canadiana within it, but as a basis for further study of nineteenth-century choral music. Included in this thesis is a catalogue of this collection as well as a list of Gould's known compositions.
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Appold, Juliette Laurence. "Felix Mendelssohn Bartholdy - Landschaften in Briefen, Bildern und Musik." Essen Verl. Die Blaue Eule, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2938147&prov=M&dokv̲ar=1&doke̲xt=htm.

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Pollok, Anne. "Facetten des Menschen : zur Anthropologie Moses Mendelssohns /." Hamburg : Felix Meiner Verlag, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3356099&prov=M&dok_var=1&dok_ext=htm.

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33

Berghahn, Cord-Friedrich. "Moses Mendelssohns "Jerusalem" : ein Beitrag zur Geschichte der Menschenrechte und der pluralistischen Gesellschaft in der deutschen Aufklärung /." Tübingen : Niemeyer, 2001. http://books.google.com/books?id=XrFbAAAAMAAJ.

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34

Brandon, Gregg Lewis, and Gregg Lewis Brandon. "Mendelssohn's Public Statement of Faith: "Lobgesang" as Christian Witness." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626714.

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In a letter from July 21, 1840, Felix Mendelssohn Bartholdy (1809–1847) shared with his friend Karl Klingemann that in his Symphony No. 2 in B-flat Major, the Lobgesang, “all the movements, vocal and instrumental, are composed to the words ‘Everything that breathes, praise the Lord’; you understand that the instruments first praise in their own way, and then the chorus and the individual voices.” This tantalizing passage is not a direct profession of faith, but the language of praising God through music does raise questions about Mendelssohn’s personal religious philosophy. The topic of Mendelssohn’s faith has been the subject of much speculation; some have assumed as the grandson of eighteenth-century Jewish philosopher Moses Mendelssohn, he ought to be considered Jewish, while others, such as R. Larry Todd, have posited that “despite a willingness to compose sacred music for different faiths, in his personal convictions Mendelssohn adhered to the Protestant creed.” Mendelssohn’s Lobgesang contains evidence of his deeply-held Protestant identity. Its “motto” theme appears at the beginning, middle, and end of Lobgesang. The first time with instruments alone; the second time sung with the text, “Alles, was odem hat, lobe den Herrn” (“Everything that breathes, praise the Lord,” Psalm 150:6), and lastly, at the end of the work, by the instruments alone, suggesting the associated text even though it is not uttered aloud. Combining this cyclical quality with the appearance of self-quotations and the Christo-centric thrust of the rest of Lobgesang’s text, we are invited to view Lobgesang as a lens through which to view other works as having been composed for the glory of God—specifically, the God Mendelssohn knew from a Protestant perspective. This paper contributes to the ongoing discussion about the relationship between music and identity, with a focus also placed on the continuing conversation about musical quotation and reference.
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Voigts, Manfred. "Moses Mendelssohn und Franz Kafka : die heilige Schrift." Universität Potsdam, 2006. http://opus.kobv.de/ubp/volltexte/2008/2265/.

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Bartsch, Cornelia. "Fanny Hensel, geb. Mendelssohn Bartholdy : Musik als Korrespondenz /." Kassel : Furore-Verl, 2007. http://deposit.ddb.de/cgi-bin/dokserv?id=2671581&prov=M&dokv̲ar=1&doke̲xt=htm.

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Grigor'eva, Irina S. "Erich Mendelsohns Wirken als Architekt in der Sowjetunion." [S.l. : s.n.], 2003. http://epub.ub.uni-muenchen.de/archive/00000421/.

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Schmidt, Thomas Christian. "Die ästhetischen Grundlagen der Instrumentalmusik Felix Mendelssohn Bartholdys /." Stuttgart : M & P, 1996. http://catalogue.bnf.fr/ark:/12148/cb35848657t.

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39

Britton, Amy Christine. "A Study of Felix Mendelssohn's Piano Fugues." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1220458221.

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Thesis (Master of Music)--University of Cincinnati, 2008.<br>Advisor: David Berry Ph.D. (Advisor), Catherine Losada Ph.D. (Committee Member), Melinda Boyd Ph.D. (Committee Member). Title from electronic thesis title page (viewed Jan. 18, 2009). Includes abstract. Keywords: Mendelssohn; fugue. Includes bibliographical references.
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Bach, Judit. "A tale of two piano trios Fanny and Felix Mendelssohn's Piano trios in D minor (op. 11, Op. 49); and how a woman composer's work should relate to the canon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117648285.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiii, 136 p.; also includes graphics Includes bibliographical references (p. 131-136). Available online via OhioLINK's ETD Center
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Rosenthal, Rebecca. "Felix Mendelssohn Bartholdys Schauspielmusiken Untersuchungen zu Form und Funktion." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/1000026299/04.

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42

Herbst, Raviv [Verfasser]. "Jüdische Musikelemente im Werk von Felix Mendelssohn / Raviv Herbst." Berlin : Freie Universität Berlin, 2012. http://d-nb.info/1027816096/34.

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43

Malá, Michaela. "Významné ženy u klavíru - Klára Schumann, Fanny Mendelssohn Hensel." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79440.

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This work focuses on several women who have put their´s minds to classical music. They have succeed at the highest level and they have shown a tremendous passion about what they have been doing. This work tells the reader the life stories of the following women, Clara Schumann, Fanny mendelssohn, Martha Argerich and Jitka Čechová. It shows their successes, major concerts, compositions they have written and their strong feelings for music. You can also find here the benefits they have brought to classical music and all their activities which helped the industry.
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Wehner, Ralf. "Studien zum geistlichen Chorschaffen des jungen Felix Mendelssohn Bartholdy /." Sinzig : Studio, 1996. http://catalogue.bnf.fr/ark:/12148/cb36966347x.

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Loy, Felix. "Die Bach-Rezeption in den Oratorien von Mendelssohn Bartholdy /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb390343063.

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Vogt, Wolfgang. "Moses Mendelssohns Beschreibung der Wirklichkeit menschlichen Erkennens." Würzburg Königshausen und Neumann, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2683486&prov=M&dok_var=1&dok_ext=htm.

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Turley, Charles. "Ch'io t'abbandono by Felix Mendelssohn Bartholdy a dramatic image of the education and aptitudes of the composer /." view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/turley%5Fcharles/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by recitals, recorded Nov. 29, 1999, Feb. 26, 2001, and Apr. 22, 2002; videocassette includes productions of Gianni Schicchi and Albert Herring; date of cassette unknown. Includes bibliographical references (p. 59-61).
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Weber, Claude. "Christian Wolff, Moses Mendelssohn et la métaphysique de Descartes : étude sur l'influence du cartésianisme dans les philosophies post-leibniziennes de Wolff et de Mendelssohn." Paris 4, 1986. http://www.theses.fr/1986PA040017.

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La vigueur de la métaphysique de l'école, de tradition aristotélicienne, puis l'avènement des philosophies leibnizienne et post-leibniziennes ont freiné le développement du cartésianisme en Allemagne. A l'aide de deux exemples, cette étude tente de montrer que l'influence de Descartes n'est toutefois pas absente au siècle de l'aufklarung. Ainsi, avant de devenir le vulgarisateur du leibnizianisme, Christian Wolff a été proche des milieux cartésiens. Sa métaphysique est fortement marquée par la "philosophie première" cartésienne, même si elle conservé, à côté du "cogito" et d'une théologie en partie cartésienne, une ontologie héritée des métaphysiciens de l'école. Mendelssohn par contre, quoique plus proche du Leibniz de la monadologie, emprunte à Descartes le cheminement de la pensée dans les méditations, en passant par le doute, le "cogito" et les preuves de l'existence de dieu, dans le souci de remédier au défaut de l'essentialisme leibnizien qui ne parvient pas à la connaissance des choses qui existent, c'est-à-dire qui ne fournit pas de passage du possible au réel. Contrairement à la métaphysique de Wolff, celle de Mendelssohn semble réussir la synthèse entre la philosophie première des méditations de Descartes et la théodicée et la monadologie leibniziennes<br>The vigor of the traditional Aristotelian school metaphysics, and later the rise of the leibnizian and post-leibnizian philosophies have confined the development of cartesianism in Germany. By two examples, this study makes out that the influence of Descartes is not completely lacking at the time of the aufklarung. Before becoming the vulgarizing out spreader of leibnizianism, Christian Wolff has been close to cartesian circles. His metaphysics are in a high degree marked by the cartesian "prima philosophia", although they keep contiguous to the "cogito" and to a partially cartesian theology, an ontology inherited from school metaphysics. Although he stands closer to the Leibniz of the monadology, Mendelssohn for his part adopts the process of thought in Descartes' meditations, comprising the methodical doubt, the "cogito" and the proofs for god's existence, trying to correct the insufficiency of leibnizian essentialism that doesn't attain the knowledge of what really exists, i. E. That doesn't reveal a passage from the merely possible to reality. Far better than Wolff, Mendelssohn seems to achieve in his metaphysics a synthesis of the "prima philosophia" of Descartes' meditations and the leibnizian theodicy and monadology
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Weber, Claude. "Christian Wolff, Moses Mendelssohn et la métaphysique de Descartes étude sur l'influence du cartésianisme dans les philosophies post-leibniziennes de Wolff et de Mendelssohn /." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376018286.

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50

Boetius, Susanne. "Felix Mendelssohn Bartholdys Schauspielmusiken zu Antigone und Ödipus in Kolonos." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23454.

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