Relevant bibliographies by topics / Ont Hensall

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Academic literature on the topic 'Ont Hensall'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Ont Hensall"

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Manning, Laurence. "Fanny Hensel, compositrice de l’avenir ? Anticipations du langage musical wagnérien dans l’oeuvre pour piano de la maturité de Hensel1." Les Cahiers de la Société québécoise de recherche en musique 16, no. 1-2 (April 25, 2017): 121–32. http://dx.doi.org/10.7202/1039618ar.

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Cet article met en lumière les aspects innovateurs de la musique pour piano de Fanny Hensel née Mendelssohn-Bartholdy (1805-1847). Si plusieurs auteurs ont déjà abordé son style musical, indépendant de celui de son frère Felix Mendelssohn-Bartholdy, personne ne s’était encore penché sur le côté avant-gardiste du langage de la compositrice. Le présent article propose une première étude globale des éléments de sa musique pour piano qui annoncent le romantisme tardif, notamment par l’observation d’extraits de la Sonate en sol mineur (1843), du cycle Das Jahr (1841) et du Lied pour piano en mi bémol majeur (1846), dont l’analyse permet d’effectuer des rapprochements inédits sur le plan des textures, de l’harmonie et du caractère cyclique avec la musique de Richard Wagner, plus particulièrement avec certains passages des opéras Tannhäuser (1845) et Das Rheingold (1853-1854).
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Siti-Khadijah, Abdul Rahman, Azhany Yaakub, Julieana Muhammed, and Wan-Hazabbah Wan Hitam. "Neuroretinitis secondary to dual infection of Toxoplasma gondii and Bartonella hensalae." Malaysian Journal of Ophthalmology 1, no. 1 (February 1, 2019): 73–77. http://dx.doi.org/10.35119/myjo.v1i1.24.

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A 73-year-old lady with underlying diabetes presented with acute loss of central vision in the left eye. Examination revealed visual acuity of 6/60 in the left eye with positive relative afferent pupillary defect and optic disc swelling with macular oedema. Right eye visual acuity was 6/12 with unremarkable findings. Optical coherence tomography (OCT) showed elevated macular with ceacocentral field defect on Humphrey visual field. Connective tissue screening and tubercular screening were negative. Serological screening for Toxoplasma sp and Bartonella sp were positive. She was diagnosed as neuroretinitis secondary to both infections and started on oral azithromycin 500 mg once a day and oral corticosteroid. Her final vision improved to 6/12 with normal optic disc and resolved macular oedema.
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Lucinda, Paulo Henrique Franco. "Systematics and biogeography of the genus Phalloceros Eigenmann, 1907 (Cyprinodontiformes: Poeciliidae: Poeciliinae), with the description of twenty-one new species." Neotropical Ichthyology 6, no. 2 (2008): 113–58. http://dx.doi.org/10.1590/s1679-62252008000200001.

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The genus Phalloceros is revised. Phalloceros caudimaculatus (Hensel, 1868) and twenty-one new species are recognized in Phalloceros. The species and their distributions are: P. alessandrae, small coastal drainages of the Paraná State; P. anisophallos, small coastal drainages of the Rio de Janeiro State; P. aspilos, rio Parati-Mirim, Rio de Janeiro; P. buckupi, small coastal drainages of the Paraná State; P. caudimaculatus (Hensel, 1868), laguna dos Patos system, lower rio Uruguay, drainages of rio Tramandaí, rio Mampituba and coastal drainages of Uruguay and Argentina; P. elachistos, rio Doce drainage and small coastal drainages of the Espírito Santo State; P. enneaktinos, córrego da Toca do Boi, Rio de Janeiro; P. harpagos, rio Paraná-Paraguai basin and coastal drainages from Espírito Santo to Santa Catarina States; P. heptaktinos, rio Jacuí drainage; P. leptokeras, middle portions of rio Paraíba do Sul drainage; P. leticiae, upper rio Araguaia; P. lucenorum, rio Juquiá drainage; P. malabarbai, coastal drainage of the Santa Catarina State; P. megapolos, drainages of rio São João, rio Cubatão (North) and small adjacent drainages of the Paraná State; P. mikrommatos, rio João de Tiba basin, a coastal drainage of the Bahia State; P. ocellatus, coastal drainages of the Bahia and Espírito Santo States; P. pellos, small coastal drainages of the Paraná State; P. reisi, headwaters of rio Tietê, rio Paraíba do Sul, rio Ribeira de Iguape, and small coastal drainages of the São Paulo State; P. spiloura, coastal drainages of the Rio Grande do Sul and Santa Catarina States; P. titthos, coastal drainages of the Paraná State; P. tupinamba, rio Itamambuca and rio Macacu drainages, small coastal drainages of the São Paulo and Rio de Janeiro States, and P. uai, rio São Francisco basin. A lectotype for Girardinus caudimaculatus is designated. Diagnoses of intrageneric clades of Phalloceros are provided. Diagnoses and descriptions of distributions are provided for each species as well as a key for identification. Phylogenetic and biogeographical features of Phalloceros are discussed.
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Books on the topic "Ont Hensall"

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Rodgers, Stephen, ed. The Songs of Fanny Hensel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.001.0001.

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Fanny Hensel is arguably the most gifted female composer of the nineteenth century—a composer of over 450 works, including 249 songs, who created some of the most pathbreaking music of her era. As much as Hensel has finally moved out from behind the shadow of her more famous brother, however, and as much as we now know about her life, there is one aspect of this astonishing composer that still remains understudied: her music. This book focuses on Hensel’s contributions to the genre of song, the art form that she said “suits her best,” where her gifts as a composer are especially evident. Its twelve chapters consider such topics as Hensel’s fascination with certain poets and poetic themes; her innovative harmonic, melodic, rhythmic, and textual strategies; her connection to larger literary and musical trends; her efforts to break free the constraints placed on her as a woman; and her place in the history of nineteenth-century Lieder. No matter their particular topics of inquiry, the authors are guided by the conviction that the best way to honor Hensel’s achievements as a composer and to appreciate her historical importance is to thoroughly examine what she wrote within its many diverse contexts, be they biographical, historical, cultural, or musical.
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Hensel, Isabell, Daniel Schönefeld, Eva Kocher, Anna Schwarz, and Jochen Koch, eds. Selbstständige Unselbstständigkeit. Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783845293356.

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Work, employment and their regulation have been facing profound challenges in the digital economy. This book analyzes the resulting dynamics of autonomy and control on crowdworking platforms in an interdisciplinary perspective, which brings together law, sociology and organisation studies. On the basis of empirical studies of crowdworking in Germany, the authors find crowdworking platforms to be recursive and adaptive. Therefore, regulators should not make the mistake of reducing them to placing services. With contributions by Isabell Hensel, Daniel Schönefeld, Jochen Koch, Eva Kocher, Anna Schwarz, Thorben Albrecht, Christiane Benner, Gunter Haake, Sarah Bormann, Sebastian Strube.
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Parsons, Laurel, and Brenda Ravenscroft. Fanny Hensel, “Von dir, mein Lieb, ich scheiden muss” (1841) and “Ich kann wohl manchmal singen” (1846). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0007.

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This chapter challenges the common view that Fanny Hensel’s songs are spontaneous, unpredictable, and guided by “fantasy.” An examination of her song beginnings—which tend to veer quickly from their home keys—reveals that Hensel relied on a handful of recurring patterns but presented them in such a way as to create the illusion of fantasy. The essay focuses on two contrapuntal “schemata” common in her songs—involving opening modulations to the submediant or supertonic—and presents analyses of two songs that use both schemata: “Von dir, mein Lieb, ich scheiden muss” (1841) and “Ich kann wohl manchmal singen” (1846). Taken together, these songs offer the clearest demonstration of Hensel’s uncanny ability to compose pieces that seem to wander freely, as if guided only by the needs of the present moment, even as they tread well-worn paths.
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Parsons, Laurel, and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.001.0001.

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This multi-author collection, the second to be published in an unprecedented four-volume series of analytical essays on music by women composers from the twelfth to the twenty-first centuries, presents detailed studies of compositions written up to 1900 by Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth-Claude Jacquet de La Guerre, Marianna Martines, Fanny Hensel, Josephine Lang, Clara Schumann, and Amy Beach. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of one representative composition or a small number of comparable compositions, linking analytical observations with broader considerations of music history, gender, culture, or hermeneutics. These essays, many by leading music theorists, are grouped thematically into three sections, the first focused on early music for voice, the second on seventeenth- and eighteenth-century keyboard music, and the third on lieder and piano music. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Post-secondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in early music, theory, history, or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners—an endeavor of discovery for all those interested in music composed before 1900.
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Book chapters on the topic "Ont Hensall"

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"Hensel's Lemma and Hensel Lift." In Lectures on Finite Fields and Galois Rings, 297–308. WORLD SCIENTIFIC, 2003. http://dx.doi.org/10.1142/9789812795076_0013.

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Rodgers, Stephen. "Plagal Cadences in Fanny Hensel’s Songs." In The Songs of Fanny Hensel, 129–46. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0008.

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The past few years have seen an outpouring of research into the ways that Romantic composers distort the conventions of their Classical predecessors. One particular distortion involves the use of genuine plagal cadences that provide formal closure rather than follow a moment of formal closure; according to William Caplin, genuine plagal cadences are almost nonexistent in music written before 1850, and after that they are hardly commonplace. Fanny Hensel is an exception to this rule. Bona fide plagal cadences are common enough in her songs to emerge as a standard category of closure. This chapter examines three Hensel songs that close with plagal cadences—“Zu deines Lagers Füßen,” “Bitte,” and “Erwache Knab’ ”—arguing that they deserve to grouped among the most inventive songs of the early Romantic era, and that Hensel deserves to be seen as one of the era’s true tonal innovators.
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Osborne, Tyler. "“You too may change”." In The Songs of Fanny Hensel, 113–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0007.

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By and large, discussions on tonal pairing have been limited to works of the late nineteenth century whose competing key centers are a third apart. Even when we find tonal pairing earlier in the nineteenth century, the tonic is still most frequently in conflict with the mediant or the submediant. This chapter addresses a tonal pairing strategy found in certain songs by Fanny Hensel where the tonic is paired not with a third-related key but instead with the subdominant. In these cases, Hensel effectively transforms the tonic into V of iv, such that the subdominant key competes with, and even sometimes usurps, the tonic key. Using “Vorwurf” and “Die Äolsharfe auf dem Schlosse zu Baden” as examples, the author explores the harmonic strategies by which Hensel turns the tonic into V of iv, and the expressive implications that arise as the tonic’s function transforms is transformed in this way.
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Wollenberg, Susan. "Songs of Travel." In The Songs of Fanny Hensel, 55–74. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0004.

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The impact of gender on freedom is vividly conveyed by Fanny Hensel’s letter to her cousin Marianne from the Saint Gotthard Pass in 1822, on a family trip: I spent a day . . . I’ll keep forever in my heart, and will remember with emotion for a long time to come. . . . [I] was observing, on the Italian border, the finest, most gracious, and pleasant scene that man can imagine when destiny cried out to me: so far, and no further! . . . If I had been a young lad of sixteen yesterday, my God! I would have had to fight against committing some great folly.” As Felix’s career acquired an international perspective, Fanny craved his descriptions of foreign parts. The motif of travel was threaded through her life—whether as reality, dream, or vicarious experience. Also threaded through her life was her production of songs belonging to the categories of “songs of travel,” portraying journeying, wandering, and remote locations, whether reached or imagined. Immersed in such texts, Hensel was free to “travel” in her mind’s eye. This chapter offers close analytical and critical readings of the words and music of songs such as Hensel’s “Schwanenlied,” Op. 1, No. 1, “Gondellied,” Op. 1, No. 6, and “Bergeslust,” Op. 10, No. 5, in an effort to illuminate how the Lied (as a small, apparently enclosed genre) allowed Hensel to widen the horizons beyond her enclosed life.
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Thym, Jürgen. "Reading Poetry Through Music." In The Songs of Fanny Hensel, 195–216. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0011.

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In an extension of Stephen Rodgers’s efforts to turn “an analytical lens” on Fanny Hensel, this chapter focuses on selected Hensel settings whose texts have also inspired other composers: “Verlust” after Heine (“Und wüssten’s die Blumen”), also set by Robert Schumann and Robert Franz; “Frühling” (Eichendorff) with Schumann’s and Curschmann’s “Frühlingsnacht” as companions; and “Du bist die Ruh” (Rückert), also set by Schubert (and many others). In order to avoid comparing stylistically incompatible settings, the selection has been limited to Lieder between ca. 1825 and ca. 1850. Taking stock of Hensel’s interpretations and comparing them with those of other composers will allow musicologists and music theorists to assess her place in the history of the Lied in the first half of the nineteenth century.
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Lalonde, Amanda. "The Wilderness at Home." In The Songs of Fanny Hensel, 15–34. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0002.

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Fanny Hensel’s songs on the theme of the German Romantic forest emphasize the transportive and emotive functions of music in Waldromantik (woods-romanticism) literature. In works by Joseph von Eichendorff and Ludwig Tieck, music announces the merging of the woods with the supernatural or the transcendent and also suggests human bewilderment or ecstasy in the midst of that experience. This chapter shows how, in “Morgenständchen” and the Anklänge cycle, Hensel accordingly centers her songs on the texts’ moments of sonic revelation, and creates a sense of expansiveness through harmonic adventurousness, dramatic ascents, textural juxtapositions, and musical allusions. Furthermore, these songs extend the worlds of their texts by providing glimpses of the unknown or by suggesting that domestic music performances are themselves implicated in the narrative. By enfolding distant realms into the home, these songs might be understood as subtly defying the gendered containment of domestic music culture.
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Todd, R. Larry. "Fanny Hensel’s Lieder (ohne Worte) and the Boundaries of Song." In The Songs of Fanny Hensel, 217–38. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0012.

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The subject of this chapter, Fanny Hensel’s Lied in D♭ major for piano solo, Op. 8, No. 3, might seem an anomalous choice for a volume devoted to the composer’s texted Lieder. But one could readily advance the argument that, like Schubert, Hensel was at her core a naturally gifted song composer who gave as free a rein to lyrical impulses in her purely instrumental music as she did in setting the verses of her favorite poets—Goethe, Tieck, Eichendorff, and Heine. Some of her piano pieces, which she typically titled Lieder or Klavierlieder, raise the question as to whether particular poetic sources lay behind their inspiration. Perhaps the most enigmatic of these examples is Op. 8, No. 3, which, when published posthumously in 1850, appeared with the title Lied, to which was added in parentheses “Lenau.” This chapter takes into account the sixteen Lenau settings composed by Hensel and her brother between 1839 and 1847, and considers whether Op. 8, No. 3 might be linked to specific verses of Lenau, or might offer, perhaps, a musical portrait of the poet, who suffered a mental collapse in 1844.
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Burnham, Scott. "Waldszenen and Abendbilder." In The Songs of Fanny Hensel, 35–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0003.

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Nikolaus Lenau (1802–1850) is often described as Germany’s greatest poet of Weltschmerz. In his poetry, Lenau steadily invoked Nature and, in particular, the figure of the forest (der Wald), as both a reflection and amplification of his prevailing poetic mood. Fanny Hensel found inspiration in Lenau’s poetry toward the end of her life, setting seven of his poems in the 1840s. This chapter offers close readings of six of those settings, grouped into those that deploy forest imagery in varying degrees (“Vorwurf,” “Kommen und Scheiden,” and “Traurige Wege”) and those that describe or address the evening (“Bitte” and “Abendbild”). Throughout, the emphasis will be on Hensel’s harmonic, melodic, rhythmic, and textural strategies for capturing and coloring Lenau’s merger of nature and melancholy.
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Malin, Yonatan. "Modulating Couplets in Fanny Hensel’s Songs." In The Songs of Fanny Hensel, 171–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0010.

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This chapter examines Fanny Hensel’s responses to the flow of syntax, thought, and feeling across poetic couplets. Poetic analysis identifies instances of syntactic independence and dependence between couplets, as well as logical relations of interpretation, opposition, and continuation. Hensel’s settings are shown to respond with precisely calibrated tonal shifts, cadences, sequences, harmonic changes, declamatory rhythms, and textures. Comparisons of settings by Hensel and Robert Schumann highlight distinctive aspects of Hensel’s compositional practice. The chapter considers couplet settings first in song beginnings, and then in song continuations with particular song forms (strophic, varied strophic, and ternary) in mind. The chapter builds on prior work by Stephen Rodgers and R. Larry Todd, which draws attention to the tonal fluidity of Hensel’s music. Implications for performance and music-text relations are considered as well.
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Rodgers, Stephen. "Fanny Hensel’s Sechs Lieder, Op. 9." In Rethinking Mendelssohn, 454–73. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.003.0020.

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In October 1847, five months after Fanny Hensel died, her brother Felix Mendelssohn brought several of her manuscripts to his publisher. Three years later, these works appeared in print as Fanny’s Opp. 8, 9, 10, and 11, though who selected these pieces for publication remains unclear. The siblings’ music, however, provides another form of evidence that can shed light on Felix’s role in the dissemination of his sister’s music. This chapter examines Fanny’s Sechs Lieder, Op. 9, a collection that is intimately connected to one of Felix’s own song collections, Zwölf Lieder, Op. 9 (1830). Considering these intertextual resonances, it is difficult not to see Fanny’s Op. 9 as a sibling collaboration in its own right, a brother’s musical elegy to his departed sister.
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Conference papers on the topic "Ont Hensall"

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Kluesner, John, and Michael Monagan. "Resolving Zero Divisors Using Hensel Lifting." In 2017 19th International Symposium on Symbolic and Numeric Algorithms for Scientific Computing (SYNASC). IEEE, 2017. http://dx.doi.org/10.1109/synasc.2017.00017.

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WAN, ZHE-XIAN. "ON THE HENSEL LIFT OF A POLYNOMIAL." In Proceedings of the International Conference on Modern Mathematics and the International Symposium on Differential Geometry. WORLD SCIENTIFIC, 2002. http://dx.doi.org/10.1142/9789812776419_0018.

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Sasaki, Tateaki, and Daiju Inaba. "Various Enhancements for Extended Hensel Construction of Sparse Multivariate Polynomials." In 2016 18th International Symposium on Symbolic and Numeric Algorithms for Scientific Computing (SYNASC). IEEE, 2016. http://dx.doi.org/10.1109/synasc.2016.025.

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Sanuki, Masaru, Daiju Inaba, and Tateaki Sasaki. "Computation of GCD of Sparse Multivariate Polynomials by Extended Hensel Construction." In 2015 17th International Symposium on Symbolic and Numeric Algorithms for Scientific Computing (SYNASC). IEEE, 2015. http://dx.doi.org/10.1109/synasc.2015.15.

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Monagan, Michael. "Linear Hensel Lifting for Fp[x,y] and Z[x] with Cubic Cost." In ISSAC '19: International Symposium on Symbolic and Algebraic Computation. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3326229.3326242.

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Alvandi, Parisa, Masoud Ataei, and Marc Moreno Maza. "On the Extended Hensel Construction and its Application to the Computation of Limit Points." In ISSAC '17: International Symposium on Symbolic and Algebraic Computation. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3087604.3087658.

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Henke, T., M. Bambach, and G. Hirt. "Experimental Uncertainties affecting the Accuracy of Stress-Strain Equations by the Example of a Hensel-Spittel Approach." In THE 14TH INTERNATIONAL ESAFORM CONFERENCE ON MATERIAL FORMING: ESAFORM 2011. AIP, 2011. http://dx.doi.org/10.1063/1.3589494.

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