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Mutere, Absalom Aggrey. "Media graduation from potential to actual power in africa's conflict resolution: Experience from the east and horn of Africa/ by Absalom Mutere." Durban: Accord, 2006. http://www.accord.org.za/downloads/op/op_2006_1.pdf.
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Halliday, Anthony Julian. "Written Text: a resource for performance-interpretation of Beethoven’s piano sonatas Opp.106, 110 and 111 in a Christological context." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29724.
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Beethoven’s last five piano sonatas are considered the most difficult works in the entire piano literature to understand, interpret and perform. Their difficulty arises from execution and understanding compositional construction. Three of these, Opp.106, 110 and 111 are considered in this thesis, emphasising Op.106. Chapter one explores the technical approach Beethoven developed to produce the unique piano sonority that characterised his playing, the compositional design, the philosophical, psychological, sociological and biological factors that likely influenced the emotional significance of these sonatas are expounded. Chapter one also discusses the possible mechanism by which Beethoven achieved the unique quality of sound in his performances. He composed to a narrative, if the narrative is to be realized through performance, then the motifs and their development must ‘sonically’ depict the story line of his narrative. To find likely narratives for Opp.106, 110 and 111 vocal music was examined to discover if motives in these piano sonatas were present in vocal music, because the text set to these motives may hold clues to the significance of these motives and hence to the narrative. Narratives are constructed for these sonatas with a more comprehensive narrative for Op.106. A general conclusion draws together the major ideas of each chapter focusing on performance-interpretation of these three works implicitly showing how sonority and narrative is inextricably linked.
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Arendárik, Matej. "Klavírní kusy op.116 a op.118 Johannesa Brahmse." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79436.
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Johannes Brahms (May 7, 1833 - April 3, 1897) famous german composer and pianist, was born in Hamburg. He is one of the leading persons of Romantic era. Brahms lived much of his professional life in Vienna, where he was very popular. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven. Brahms wrote for piano solo, orchestral music, chamber music and for voice and chorus. As great pianist, he was the first performer of many of his piano works. He had many friends including the famous composer Robert Schumann and his wife, great pianist Clara Schumann or violinist Joseph Joachim. Brahms was perfectionist. He destroyed many works. His music is firmly rooted in the forms and compositional techniques of the old masters like Bach, Mozart and Beethoven. I focused on his late piano works - Pieces for piano op. 116 and 118.
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Meyer, William Joseph. "THE CELLO WORKS OF ERNST VON DOHNÁNYI." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/99.
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This paper aims to draw attention to the oft neglected cello compositions of Ernst von Dohnányi. A prolific performer, composer, and pedagogue, Dohnányi has fallen into obscurity amongst the general population since his passing in 1960. Among the works discussed in this document are two unpublished sonatas from Dohnányi’s childhood, his Cello Sonata in B-flat, op.8 and his Konzertstück for Cello and Orchestra op.12. Each piece is given a historic background placing it among events of the composer’s life that led to its genesis and premier. This is followed by a formal and harmonic analysis and concludes with special considerations for the cellist in performing or teaching each work. Also included are complete editions of two previously unpublished works: Sonata for Cello and Piano in G-major composed in 1888 and a Grand Sonata for Cello and Piano in C-major composed in 1889. The manuscripts for both works are contained within the British Library’s Dohnányi Collections, from which I have compiled and edited the following performance editions. It is my hope that these two sonatas will enter the repertoire of student cellists supplementing the relatively small catalogue of music for the intermediate cellist.
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Стеценко, О. П. "Стилістично-прагматичний аспект перекладу політичного медіадискурсу." Master's thesis, Сумський державний університет, 2021. https://essuir.sumdu.edu.ua/handle/123456789/87253.
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Мета: визначити особливості політичного медіадискурсу та Op-ed статей, провести компаративно-зіставний аналіз їх стилістично-прагматичних особливостей у мові оригіналу та мові перекладу.
Актуальність теми зумовлена спрямуванням сучасного перекладознавства на різнобічне дослідження політичного медіадискурсу як засобу міжкультурної комунікації та тенденцією до поглибленого вивчення структурно-прагматичних особливостей Op-ed статей як жанру публіцистичного стилю, що перебуває на етапі становлення в Україні, а також здійсненні детального аналізу їх стилістичного-прагматичних особливостей в процесі перекладу з української на англійську мову. Методологічну основу дослідження становлять дескриптивний, кількісно-статистичний методи, а також методи компаративно-зіставного, інтерпретаційно-текстового, перекладознавчого аналізу.Цель: определить особенности политического медиадискурса и статей Op-ed, провести компаративно-сопоставимый анализ их стилистически-прагматических особенностей в языке оригинала и языке перевода. Актуальность темы обусловлена направлением современного переводоведения на разностороннее исследование политического медиадискурса как средства межкультурной коммуникации и тенденцией к углубленному изучению структурно-прагматических особенностей Op-ed статей как жанра публицистического стиля, находящегося на этапе становления в Украине. особенностей в процессе перевода с украинского на английский язык. Методологическую основу исследования составляют дескриптивный, количественно-статистический методы, а также методы компаративно-сопоставимого, интерпретационно-текстового, переводоведческого анализа.
Goal: to determine the peculiarities of political media discourse and Op-ed articles, to conduct a comparative analysis of their stylistic and pragmatic peculiarities s in the source language and the target language. The relevance of the topic depends on the focus of modern translation studies on a multifaceted study of political media discourse as a means of intercultural communication and the tendency to an in-depth study of the structural and pragmatic peculiarities of Op-ed articles as a genre of the publicist style that is at the stage of formation in Ukraine. peculiarities of the translation process from Ukrainian into English. The methodological basis of the research is made up of descriptive, quantitative and statistical methods, as well as methods of comparative, interpretative and textual, translation analysis.
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HUNG, YU-SUI ESTHER. "BEETHOVEN'S VARIATIONS WoO 76, OPP. 34, 35, AND 120: A COMPARATIVE ANALYSIS BETWEEN AND AMONG." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1172509997.
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Lopes, André Castilho. "A problemática da escrita musical para guitarra, na obra de Mario Castelnuovo-Tedesco: análise editorial da Sonata op. 77 (Omaggio a Boccherini) e proposta de edição e digitação da Suite op. 133." Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/16424.
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Mario Castelnuovo-Tedesco foi um dos mais produtivos e versáteis compositores do século XX. Entre óperas, oratórias, balés, música para filmes, coro, harpa, piano, órgão, violino, viola e violoncelo, deixou mais de cem obras escritas para guitarra solo, incentivado, essencialmente, pela figura de Andrés Segovia. Na presente monografia, iremos debruçar a nossa pesquisa na análise editorial da Sonata op.77 (Omaggio a Boccherini), a partir da edição de Andrés Segovia (Schott, 1935), Angelo Gilardino (Bèrben, 2007) e do próprio manuscrito. Propomos também três edições distintas da obra Suite op. 133, cujo manuscrito - disponibilizado por Lisbeth e Diana Castelnuovo-Tedesco, que permanece apenas para consulta na Library of Congress (E.U.A.) -, se nos revelou como fundamental. Com esse propósito, traremos à colação um enquadramento biográfico do compositor, das obras em análise, bem como uma análise formal das mesmas; Abstract:
The issue of music written for guitar, in the work of Mario Castelnuovo Tedesco: editorial analysis of the Sonata op. 77 (Omaggio the Boccherini) and proposed Suite op. 133 edition
Mario Castelnuovo-Tedesco was one of the most productive and versatile composers of the twentieth century. Among operas, oratorios, ballets, film music, choir, harp, piano, organ, violin, viola and cello, Castelnuovo left more than one hundred works written for solo guitar, encouraged mostly by Andres Segovia. In this monograph, we will focus our research on the editorial analysis of Sonata op.77 (Omaggio a Boccherini), taking as a starting point the editions of Andrés Segovia (Schott, 1935) and Angelo Gilardino (Bèrben, 2007), as well as the manuscript itself. We also propose three different editions Suite op. 133, whose manuscript - available from Lisbeth and Diana Castelnuovo-Tedesco and remaining for consultation in the Library of Congress (USA) only -, was shown to be fundamental to us. For this purpose, we will draw a biographical framework of the composer, of the works under review, as well as a formal examination of the aforementioned works.
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Bersou, Viviane. "O romantismo e a pequena forma pianística: Síntese da composição, a beneficiar o processo didático." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-13052009-162806/.
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Situar a pequena peça romântica para piano no contexto histórico e cultural do século XIX, e dela extrair propostas no campo da didática, é o objetivo desse trabalho. Para isso, procurou-se buscar não só a origem, mas justificar a preferência da pequena forma por parte dos compositores, em detrimento de formas maiores, já consagradas e aceitas universalmente. Fatores como o aperfeiçoamento do piano, estrutura, características e titulação das peças são abordados, assim como o movimento nacionalista, que tão bem delas se utilizou como veículo de expressão. A obra Macchiette op.2, coletânea de Henrique Oswald, serviu de exemplo vivo para ilustrar e justificar o que foi proposto: peças descritivas, intimistas, danças, revelam não só as tendências da época, mas as características, o estilo do compositor, que, através delas e de maneira particular, original, subjetiva, expressa suas emoções e se deixa conhecer.The objective of this paper is to place this small romantic piano piece in the historical and cultural setting of the XIX century and extract from it some new ideas for teaching. For this reason, we tried to get at its very origins and justify the preference for the small form favored by the composers rather than larger, already consecrated and universally accepted forms. Factors such as perfecting the piano as well as structure, characteristics and studying the titles of the pieces were looked at, just as the nationalist movement that at the time used them for expression. Macchiette op.2, compiled by Henrique Oswald, is a lively example to illustrate and justify the purpose: descriptive, intimistic pieces, dances, revealing not only trends of their time, but the features and style of the composer who, in a very particular, original and subjective way, used them to express his feelings and make himself known.
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Ham, Wilhelmus Adriaan van. "Macht en gezag in het Markiezaat : een politiek-institutionele studie over stad en land van Bergen op Zoom (1477-1583) /." Hilversum : Verloren, 2000. http://catalogue.bnf.fr/ark:/12148/cb401253243.
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Buitenweg, Rob. "Recht op een menswaardig bestaan : een humanistieke reflectie op sociaal-economische mensenrechten /." Utrecht : Uitgeverij de Fraaff, 2001. http://catalogue.bnf.fr/ark:/12148/cb40163686t.
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Proefschrift--Utrecht--Universiteit voor humanistiek, 2001.Mention parallèle de titre ou de responsabilité : The @right to a dignified live : a humanistic reflection on socio-economic human rights. Textes en néerlandais, résumé en anglais. Bibliogr. p. 373-379.
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Coomans, Alphonsus Paulus Maria. "De internationale bescherming van het recht op onderwijs." Leiden : Maastricht : Stichting NJCM-Boekerij ; University Library, Maastricht University [Host], 1992. http://arno.unimaas.nl/show.cgi?fid=5675.
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Romberg, Andreas. "Te Deum - op. 55." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-67962.
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Corrected and modernized (clefs, instruments) edition, very close to original and practical - but NOT SCIENTIFICALLY CRITICAL - this great version with full orchestra as in original dedicated to marriage of HRH Prince William of England and His Lady Catherine Middleton on 29th of April 2011. Derived from print, app. 1819, digital library, SLUB DRESDEN.
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Berkhout, Thomas Maria. "Fiscaal afschrijven op vastgoed." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2002. http://dare.uva.nl/document/62819.
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Hirschfeld, C. René, Wolfgang Borchert, and Marie-Luise Kaschnitz. "5 Chorlieder: (op. 16)." C. René Hirschfeld, 1986. https://slub.qucosa.de/id/qucosa%3A71554.
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5 engagierte, hochexpressive Lieder für 4- bis 6stimmigen gemischten Chor, zwei Lieder davon mit obligatem Klavier. Charakter und auch Art des Satzes sind durchaus unterschiedlich. Die Spanne reicht von einfacher Linie im Chor mit virtuosem Klavierpart als Kontrapunkt über einen aphoristisch kurzen Chorsatz und einem reinen Klangstück ohne Text bis zu einem bedrohlich sich steigernden Fugato. Es handelt sich dabei nicht um einen festen Zyklus, d.h. die Lieder können auch einzeln gesungen werden, wiewohl eine Gesamtaufführung in der angegebenen Reihenfolge natürlich erwünscht ist.
Die Texte stammen von Wolfgang Borchert und Marie-Luise Kaschnitz.:1. Versuch es - S/A/T/B/Piano
2. Obertöne - S/A/T/B
3. Intermezzo - S/MS/A/T/Bar/B
4. Weißnoch - S/MS/A/T/Bar/B
5. Du sollst nicht - S/MS/A/T/Bar/B/Piano
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Kasman, Tomáš. "Reštrukturalizácia podniku OP Prostějov." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-113192.
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Diploma thesis "Restructuring of OP Prostějov Company" offers a comprehensive insight into crisis management and key ingredients that lead to the successful company turnaround. Slatter`s theoretical approach is combined with the best practice of strategy consultants at Roland Berger. We analyze the situation of the biggest manufacturer of outerwear dresses in Czech Republic - OP Prostějov Company. Both financial and strategic analyses identify the key drivers in clothing industry and assess the causes of the company poor performance. OP Prostějov is recommended to focus on Measure-to-Made luxury collection, while all the unnecessary properties should be divested and sold in order to pay the bank loans and other liabilities of the company. The most important steps are defined in the part of financial restructuring and new strategic reorientation with attention to improve the basic operational metrics -- most importantly to improve EBIT margin and return on capital invested.
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Kottke, Jennifer Lynn. "Thedor Kullak's "Scenes from Childhood," Op. 62, and Op. 81: A Pedagogical Guide." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1749.
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Theodor Kullak (September 12, 1818 - March 1, 1882) composed "Scenes from Childhood," Op. 62 and Op. 81 for young piano students. This thesis is a guide for teaching these pieces to intermediate piano students. Following Kullak's biography, aspects of note-reading, fingering, rhythm, technique, and musicality are discussed and illustrated in specific examples from the music.
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Richthoff, Andreas. "En studie om två olika utbildningskoncept : Cooperative Education & Kvalificerad Yrkesutbildning." Thesis, Högskolan Väst, Avd för företagsekonomi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-4108.
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Syfte: 1. Att redogöra bakgrunden till varför praktiska utbildningar behövs, och varför det satsas på en sådan utbildningsfilosofi. 2. Att granska två koncept med två tillhörande program för att påvisa viktiga likheter och skillnader, genom utbildningsplaner, intervjuer och enkäter. 3. Att ta reda på vad meningen med de två koncepten är, med hänsyn till vad respondenterna säger och med mina egna tankar och åsikter. Metod: En kvalitativ undersökning bestående av intervjuer och enkätundersökningar kombinerad med vissa kvantitativa delar i enkätundersökningen. Teoretiska perspektiv: Kommunikation, lärande, teoretiskt lärande, praktiskt lärande. Empiri och analys: Meningen med utbildningskoncepten har diskuterats fram med hjälp av egna åsikter och med hjälp av svar från enkäter, personliga intervjuer och ifrån övriga respondenter. Slutsatser: Det finns flera meningar med båda utbildningskoncepten och deras respektive utvalda utbildningar. För en KY-student kan det vara att få en skräddarsydd utbildning, och för en co-op student kan det vara möjligheten till betalda arbetsperioder.
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Park, Hyuna. "A Performance Guide of Cecile Chaminade’s Early Piano Works:Piano Sonata Op. 21, Six Etudes de Concert Op. 35, and Concertstuck Op. 40." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1562923290461938.
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Lagoumitzis, Nicolas. "Les sonates pour piano de Beethoven : regard sur l'évolution de l'interprétation des op. 2 N1, op. 53 et op. 111au XXème siècle." Paris 1, 1998. http://www.theses.fr/1998PA010588.
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Ce travail est une étude historico-esthétique de l'interprétation des sonates pour piano de Beethoven, fondée sur la comparaison d'enregistrements réalisés au cours de diverses périodes du XXeme siècle. Selon la méthodologie adoptée - l'analyse interprétative comparée - nous relevons les options interprétatives de chaque exégète lors de sa lecture "personnelle" de ce corpus beethovenien considéré dans sa matérialité "objective". Nous essayons de dégager les perspectives esthétiques des artistes-interprètes en tenant compte des différentes périodes de composition des sonates, des différentes époques de leur interprétation et, de plus, de l'influence de la tradition interprétative du XIXeme siècle, comme de l'esthétique de certains courants d'art du XXeme siècle, sur les options exégétiques des pianistes. Les œuvres (op. 2 n01, op. 53 et op. 111) ont été choisies en tant que représentatives et révélatrices des trois périodes de la création beethovenienne entre classicisme et romantisme. Les interprètes (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda et Michael Levinas) possèdent tous des formations musicales distinctes car ils appartiennent à des écoles pianistiques européennes majeures aux fondements différents. Pour chacun d'entre eux, nous avons choisi le moment correspondant à l'enregistrement de l'intégrale des sonates pour piano, afin d'obtenir, grâce à leur comparaison, des éléments représentatifs de l'évolution de l'esthétique pianistique au XXème siècleThe present thesis is a historical-aesthetic study of the interpretation of Beethoven's piano sonatas. As such, it is based on the comparison of certain recordings during different periods within the 20th century. Through the methodology we e adopted -the comparative interpretative analysis- we reveal each artist's interpretative choice, consistent with his "individual" reading of beethoven's piano sonatas "corpus". We have strived to uncover the aesthetic perspectives of the artists taking into account the different chronological periods of the creation and interpretation of the sonatas, as well as the influence of the 19th century interpretative tradition and 20th century aesthetic currents, on the artists' interpretative preferences. The works (op. 2 n01, op. 53 and op. Ill) were selected as being representative and revealing of the three periods of beethoven's creation between "classicism" and "romanticism". The interpreters (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda and Michael Levinas) possess a remarkable musical education, especially as they all belong to grand european piano schools, each being characterized by different founding principles. Each artist has recorded beethoven's piano sonatas in their entirety. These complete recordings provided the chronological framework against which our comparisons were made. Our ultimate aim has been to capture those unique elements reflecting the evolution of piano- playing aesthetics in the 20th century
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Bieleman, Jan. "Boeren op het Drentse zand, 1600 - 1910 : een nieuwe visie op de "oude" landbouw /." Utrecht : HES uitg, 1987. http://catalogue.bnf.fr/ark:/12148/cb34934629f.
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Vogas, Cristiano de Abreu Buarque. "Prelúdios op. 28 de Chopin: uma análise das indicações de pedal do compositor." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05112014-112206/.
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Nosso trabalho consiste na análise das indicações de pedal encontradas nos Prelúdios op. 28 de F. Chopin. A ideia desta pesquisa surgiu através de comparações entre diferentes edições das obras do compositor, onde encontramos grande incompatibilidade referente às indicações de utilização do pedal de Chopin com as de alguns editores. Percebemos que sua pedalização foi ignorada ou alterada por muitos revisores, que optaram por empregar uma indicação padrão de pedal. O nosso trabalho está divido em três capítulos. No primeiro faremos um breve histórico do emprego e escrita para o pedal desde os seus primórdios até os dias de hoje. No segundo capítulo trataremos da escrita para pedal de Chopin, onde abordaremos a linguagem adotada pelo compositor e suas especificidades. O terceiro capítulo será dedicado à análise das indicações de pedal dos 24 Prelúdios op. 28 encontradas no manuscrito autógrafo.This study consists of a research about the pedal indications by F. Chopin and more specifically those founds in his Preludes op. 28. The idea for this research came through the comparisons of different editions of the composer\'s work, where we found great inconsistency regarding indications of Chopin on using the pedal. Chopin\'s pedaling was ignored or altered by many reviewers, who often chose to employ a standard indication. The work is divided into three chapters. The first presents a brief history of employment and notation for the pedal from its beginnings until the present day. The second deals with how Chopin wrote his pedaling, where we discuss the language adopted by the composer and their specificities. The third chapter is devoted to the analysis of the indications of the pedal found in the autograph manuscript of the 24 Preludes op. 28. These statements seek to be understood not only by the intrinsic characteristics of each musical excerpt, but also through comparison with other editions of the work and based on the literature on the subject.
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Sagona, Amalia. "Edvard Grieg’s Ballade in the Form of Variations on a Norwegian Melody, Op.24, for Piano, and Old Norwegian Melody with Variations, Op.51, for Two Pianos: An Analytical Overview and Interpretive Study of the Variation Procedure." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1257892076.
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Günther, Edeltraud, Holger Hoppe, Chokri Cherif, and Kathrin Pietsch. "Optimale Beschaffungsentscheidungen für OP-Textilien." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1223649175630-43893.
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Dieser Beitrag gibt, basierend auf einem BMBF-Verbundvorhaben, Einblicke in die umfassende Bewertung von OPTextilien. Ziel des Vorhabens ist es, Entscheidern in Krankenhäusern Anregungen und Know-how für ihren Berufsalltag und Produzenten von OP-Textilien Impulse für die Gestaltung ihrer Produkte zu geben. Es werden die hygienischen Anforderungen zur Vermeidung nosokomialer Infektionen, die die Schutzwirkung der Textilien garantierenden textiltechnologischen Voraussetzungen sowie die zur Erfüllung der Wirtschaftlichkeit und Umweltfreundlichkeit notwendigen Anforderungen an OP-Textilien dargestellt. Der Beitrag verdeutlicht, dass die Beachtung all dieser Kriterien und deren Zusammenführung für eine bewusste Entscheidung zum Einsatz von OP-Textilien notwendig istThis article describes a holistic assessment approach for operating room (OR) textiles, based on a joint research project funded by the German Ministry of Education and Research. The objective of the project is to ease decision processes for decision makers in hospitals and OR textile manufacturers. The hygienic demands for protection against nosocominal infections, the technological requirements to guarantee textiles their protective properties, as well as the bases for an economically and environmentally optimum decision, are discussed. To permit a holistic procurement decision regarding OR textiles, it is necessary to consider all these criteria and their integration, as proposed in this article
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Schultz, Arlan N. (Arlan Nelson). "Edifice : op.4, no.2." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22539.
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"EDIFICE" Opus 4. No. 2, is a composition scored for double, mixed chorus, soprano and baritone soli, 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 trombones, and bass trombone. The piece is based on the poem EDIFICE, by Tean E. Schultz, which was written at the request of the composer.The philosophical impetus of this work stems from the process of perspectival redefinition, the resultant alteration in perceptual space being of primary importance. This could be viewed as the meta-text of the poem and forms the basis for an iconic realization of this concept in "EDIFICE".
The work is characterized by the unusual spatial disposition of its constituent ensembles. Specifically, the two mixed choirs are antiphonally situated, one on either side of the audience, with the wood winds and brass set in two concentric circles between the two choirs. The wood winds and bass trombone are enclosed by the remaining brass. This arrangement of the instruments relates directly to the imagery implicit in the third segment of the poem; " ... I will not listen, My self is pouring Outside me; Like a cast of metal Covers me ... ".
In terms of compositional designs the work explores such techniques as cyclical permutation of phonemic units derived through the phonetic fragmentation of text segments; phonemic manipulation in a multi-layered texture for the purpose of timbral variation; inexact rhythmic imitation, termed "quasi cannon"; serialized and "eroded" breathing rhythms; continuous redisposition of semi-chromatic pitch cells as foundational harmonic structures; and textural "cross-fading" within the antiphonal distribution of forces.
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Košnarová, Magdaléna. "Řízení rizik projektu OP VVV." Master's thesis, Vysoké učení technické v Brně. Ústav soudního inženýrství, 2016. http://www.nusl.cz/ntk/nusl-241266.
Full textAbstract:
This master´s thesis deals with risk management of one of the key activities of project Information and publicity of Operational Programme Research, Development and Education. Important terms linked to operational programs specifying information about operational program Research, Development and Education and description of Risk Management matters are explained in theoretical part. Analysis SLEPT, 7S and SWOT are used for Department of Education, Youth and Physical Training. Method RIPRAN is used for risk assessment. Recommendations and proceedings for minimisation or eventual elimination of found risks are based on results of this method. Those suggestions should help to action not only this project but future projects of similar this nature.
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Biegniewska, Julia. "Wieniawski, Op. 22, sats 1." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2197.
Full textAbstract:
I den här uppsatsen analyseras Henryk Wieniawskis violinkonsert i d-moll, Op. 22, sats 1. Syftet med studien är en djupdykning i satsens grundstruktur: funktionsanalys, formanalys, motivanalys, sonatform samt en beskrivning av min instuderingsprocess. Jag guidar läsaren genom verket och kommenterar parallellt mina konstnärliga val. Studien påvisar att verket genomsyras av en kammarmusikalisk dominans såväl som det innehåller en genomgående violinistisk naturlighet som tydligt återspeglar Wieniawskis gedigna personliga violinkännedom.
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Källberg, Lina. "Robert Schumann: Humoreske op. 20." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2355.
Full textAbstract:
Denna uppsats behandlar Robert Schumanns Humoreske op. 20 och ställer upp ett förslag till tolkning utgående från kompositörens liv och psyke. Syftet med arbetet har varit att skaffa en stabil kunskapsbas att utgå från då jag tolkar stycket och på så vis göra interpretationen så övertygande som möjligt. Uppsatsen inleds med en redogörelse av kompositörens liv fram till åren han skrev verket. Därpå följande rubrik innehåller en beskrivning av de metoder som använts för att uppnå önskat resultat. Därefter följer en formanalys och kronologisk genomgång av verket som ställer fram ett förslag till tolkning och slutet av uppsatsen består av en diskussion över nyttan av bakgrundskunskap om kompositören vid instudering av ett verk. Jag anser mig ha hittat möjliga samband mellan Schumanns livssituation och hans musik, vilket man kan ha nytta av inte bara vid instuderingen av Humoreske op. 20 utan även då man tar sig an andra verk av samma kompositör.R. Schumann: Kinderszenen op. 15R. Schumann: Humoreske op. 20
Lina Källberg, piano
Som bilaga medföljer en inspelning av examenskonserten där dessa verk framfördes.
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Speight, Amanda Gaye. "Op writing : text ornamenting vision." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/16611/1/Amanda_Speight_Thesis.pdf.
Full textAbstract:
The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as "foreign" forms that variously endangered, or, in turn, invigorated the power of art.
My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re-examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract.
The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a "decorative" painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella's early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner's statement-sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a "direct" form of art information that would remain unchanged even in reproduction. But as Weiner's work is reproduced in journals and magazines, this "direct" form of art is complicated through a variety of reproductive forms - documentary photographs, transcription errors and differences in the visual format and typography of the text.
In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities.
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Speight, Amanda Gaye. "Op writing : text ornamenting vision." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16611/.
Full textAbstract:
The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as "foreign" forms that variously endangered, or, in turn, invigorated the power of art. My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re-examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract. The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a "decorative" painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella's early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner's statement-sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a "direct" form of art information that would remain unchanged even in reproduction. But as Weiner's work is reproduced in journals and magazines, this "direct" form of art is complicated through a variety of reproductive forms - documentary photographs, transcription errors and differences in the visual format and typography of the text. In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities.
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Meyer, Aletia. "Die impak van die Wet op Verbruikersbeskerming 68 van 2008 op die dokter-pasiënt verhouding." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65686.
Full textAbstract:
In die twintigste eeu het die fokus in die wêreld ekonomie geskuif van ‘n produksie georienteerde oogpunt na ‘n verbruikers georienteerde oogpunt en daarom het meeste wetgewing vir verbruikersbeskerming ontwikkel. Suid-Afrika het grootliks nagelaat om aandag daaraan te gee, wat die gevolg gehad het dat die wetgewing wat beskikbaar was vir verbruikers in Suid-Afrika, oneffektief en uitgedateerde wetgewing is. Die wetgewing wat beskikbaar was het ook slegs ‘n klein area beskerm soos krediet ooreenkomste, versekering, rente, prysbeheer, promosie-kompetisies en onregverdige besigheids praktyke.
Die langverwagte Wet op Verbruikersbskerming (hierna verwys as “die WVB”) wat relatief onlangs in werking getree het is huidiglik van toepassing op alle transaksies met betrekking tot die lewer van goedere en dienste in Suid-Afrika, wat dus mediese dienste en mediese sorg in Suid-Afrika insluit.
Daar is tans min gerapporteerde regspraak met betrekking tot die Wet op mediese sorg, maar wel baie artikels en kommentaar oor die vereistes en voorwaardes wat die WVB inhou vir mediese sorg in Suid-Afrika. Die Wet is verbruikers georienteerd waarvan verbruikers agt fundamentele regte tot hulle beskikking het. Hierdie regte is oppergesag teenoor ander wetgewing en indien daar teenstrydigheid is met ander wetgewing sal die wetgewing wat die meeste beskerming bied vir die verbruiker, van toepassing wees.
Die uitdaging vir mediese praktisyns is om aan hierdie fundamentele regte te voldoen tydens die uitvoer van hulle dienste, tesame met die Grondwet van die Republiek van Suid-Afrika, 1996, Wet op Nasionale Gesondheid, No. 61 van 2003, die Wet op Gesondheidsdiensteberoepe, No. 56 van 1974 wat verdere verpligtinge inhou tydens die uitvoer van mediese dienste.
Die prentjie van die dokter-pasient verhouding het oor die jare getransformeer as gevolg van die samelewing wat verbruikersgeorienteerd geword. Pasiënte as verbruikers van mediese sorg wil slegs ‘n “stem” hê tydens besluitneming oor hulle gesondheid.Mini Dissertation (LLM)--University of Pretoria, 2017.
Public Law
LLM
Unrestricted
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Hwang, So Myung (Sonia). "Stylistic Elements within the Texture and Formal Structure of Ernst von Dohnányi's Four Rhapsodies, op. 11." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28434/.
Full textAbstract:
Hungarian pianist, composer, conductor, teacher and administrator, Ernst von Dohnányi (Ernö Dohnányi in Hungarian), was considered one of the most versatile musicians and the first architect of Hungary's musical culture in the late nineteenth and early twentieth-century. Dohnányi composed the Four Rhapsodies, op. 11, between 1902 and 1903, and among his many piano compositions, op. 11 are regarded as some of his most substantial works. Without directly imitating the earlier works of Liszt and Brahms, Dohnányi contributed to the rhapsody tradition with op. 11 by using his own unique stylistic compositional elements in the textural and formal structure. Texture and form are the most indicative characteristics of his rhapsodic language because of the improvisational nature that permeates his compositional style in the rhapsodies. In this dissertation the works are examined from within its textural and formal structure. Within texture, rhythm and accompanimental figurations are examined. Each rhapsody's structural organization, including references to eighteenth-century forms, and the cyclical elements in the work is analyzed. Background information on Dohnányi and a brief history of the rhapsody in the 19th century is also included.
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Petersen, Melanie. "'n Gevallestudie van die effek van die herverdeling van mag op vroue wat op skoolbeheerliggame dien /." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1594.
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Pálffy, Péter [Verfasser]. "Konzeption und Einführung eines DV-basierten OP-Planungs- und OP-Dokumentationssystems in einem Universitätsklinikum / Péter Pálffy." München : GRIN Verlag, 2008. http://d-nb.info/1181195381/34.
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Bahnmüller, Bea [Verfasser], and Andreas [Akademischer Betreuer] Müller. "Vergleich von laparoskopischer OP-Technik mit offener OP-Technik bei Endometriumkarzinom / Bea Bahnmüller. Betreuer: Andreas Müller." Erlangen : Universitätsbibliothek der Universität Erlangen-Nürnberg, 2012. http://d-nb.info/102937435X/34.
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Kang, Dong Hyun. "Interpretation of Karol Szymanowski's Piano Music: Performer's Guide to Selected Piano Works: Prelude, Op. 1, No. 7, Variations in B-flat Minor, Op. 3, Masques, Op. 34, No. 1, "Sheherazade," and Mazurkas, Op. 50, Nos. 1 and 2." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535380993670665.
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Oh, Joo Young. "An Introduction to Selected Character Pieces for Piano by Robert Muczynski." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596103.
Full textAbstract:
Robert Muczynski (1929-2010), composer, pianist, and educator, is a noteworthy American musician from our time. His prowess as a pianist undoubtedly accounts for the striking number of pieces he wrote for the piano, namely, one concerto, preludes, sonatas, suites, a toccata, and variations. Out of a total of forty-eight pieces with opus numbers, seventeen are for solo piano. This document contains an overview of Muczynski's life as a composer and musician, with an emphasis on his solo piano compositions. The body of the document traces sources of Muczynski's compositional style, especially the influence of Alexander Tcherepnin, his composition teacher and mentor, and Sergei Prokofiev. An analysis of some of Muczynski's shorter piano solo pieces follows: Six Preludes, op. 6, Suite for Piano, op. 13, and Toccata, op. 15. This analysis demonstrates that Muczynski's short piano pieces often exhibit a persistent focus on one generative musical idea within each piece, usually consisting of unifying etude-like material. For variety and color, he relies on frequent changes of metric pulse, sudden accents, highly chromatic harmony and melody, and an extreme range of sound. These stylistic traits are consistent with those previously identified by other scholars in his larger piano compositions.
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Andersson, Martin. "Konstruktion av förstärkare och insamplingssteg till en PSAADC i 0.25 um CMOS." Thesis, Linköping University, Department of Electrical Engineering, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-1132.
Full textAbstract:
The aim and goal of this work has been to design and implement a voltage reference network for a 12-bit PSAADC, Parallell Successive Analog to Digital Converter. A chip containing the design has been sent away for fabrication. Because of the long processing time, no measurement data are presented. The main specifications for the voltage reference generator is to generate stable reference voltages with low noise and a good PSRR. Efforts has also been made to minimize the power consumption.
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Tang, Tsai-yao, and 唐彩堯. "A Study of Frederic Chopin''s Four Impromptusfor Piano － Op.29, Op.36, Op.51,＆Op.66." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/926a23.
Full textAbstract:
碩士國立臺南大學
音樂學系碩士班
99
Frederic Chopin（1810-1849）has never written a symphony and opera, and just put his most effort on piano music creation to express his joy, sadness, melancholy and passion. He played the most beautiful part of the sustenance of human emotions on the piano and connected them with poetic fantasy, especially the four piano “Impromptus”. This article firstly defines the subject and scope of the research, followed by literature review to understand the historical evolution of Impromptu, then carries out a research of the compositions of Chopin’s piano music. Finally, the author analyzes the structures and harmonies of the “Impromptu, Op. 19”, “Impromptu, Op. 36”, “Impromptu, Op. 51”and the “Impromptu, Op. 66”. The author combines the suggestions from experts and scholars to do research on a performance of piano playing based on the application of skills, tone colors and dynamics among the four Impromptus in order to offer players control the performance of the four works more precisely. The research found that the Chopin''s four Impromptus are correlated to each other according to similar symmetrical strcture and classical relish,which are like the same or the same series of works. In addition, the four works are in bold harmonic employment and the use of transpositional tone colors, coupled with an abundance of dynamic expression, which make the contents of the works climaxes. The elegant fluency of the melodies make the four works show a slightly similar musical atmosphere. The author hopes to emphasize the importance of Chopin’s four piano“Impromptus”by analyzing and exploring those playing techniques and musical interpretations of the treatment to be more learned and helpful.
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Yang, Hsin-Yi, and 楊馨怡. "The〝 Fantaisie-Impromptu, op.66〞, 〝Fantasie, op. 49〞and〝Polonaise-Fantaisie, op.61〞of F. Chopin." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/67315749793933209365.
Full textAbstract:
碩士國立中山大學
音樂學系研究所
91
Fantasie was firstly comprised of free improvisatory type and multi-section structure. In the 19th century, the formal structure of sonata and character pieces were combined into the Fantasie. In the process of its evolution, the introduction, slow mid-section, and improvisatory elements which Fantasie includes always play important roles. However, Fantasie varied with different characteristics of individual composers. This paper focuses on three works titled “Fantasy” from Chopin. It includes five chapters: the first chapter is the introduction. The second chapter is about the historical development of Fantasie in keyboard works. In the third chapter to the fifth chapter Chopin’s Fantaisie-Impromptu Op. 66, Fantasie Op. 49, and Polonaise-Fantaisie Op. 61, and fantastic features of Chopin will be discussed in details.
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Lin, Hung-chun, and 林虹君. "A Study of Frederic Francois Chopin’s “Nocturnes”Taking Nocturne op.9-1, op.15-1, op.27-2, op.55-1 as Examples." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/42646336598560778613.
Full textAbstract:
碩士國立臺南大學
音樂學系教學碩士班
98
Frederic Francois Chopin (1810-1849) was known as one of the most important Romantic piano music composers. Chopin composed a large amount of piano compositions throughout his lifetime. His lofty status made him a representative of Romanticism in music. English composer John Field (1782-1837) primarily created his own unique style in the name of “nocturne” in the nineteenth century. Adopting Field’s thoughts and style, Chopin made the state of nocturnes even higher and more manifold. Chopin continually composed twenty-one nocturnes from 1827 to 1846. This thesis explicitly studies Chopin’s 《Nocturne》 No.1, No.4, No.8, and No.15 respectively. He utilized many different techniques and musical elements in these nocturnes to present abundant and splendid musical expression and intensity. Each of these four Nocturnes was analyzed in the musical form, tonality, harmony, utilization of melodic element, etc. Taking Chopin’s 《Nocturne》 as the topic, the thesis is divided into six chapters. The first chapter is an introduction; the second chapter introduces Chopin’s life and compositional style; the third chapter explores the history of nocturnes. The fourth chapter studies the compositional techniques of Chopin’s nocturnes, inducing the formal analysis and compositional techniques. The fifth chapter interprets and compares different performers recordings of these four Nocturnes. The final chapter is the conclusion, which summarizes this thesis. Hopefully, this thesis will provide detailed and valuable information to readers.
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GAO, WEI-SHAO, and 高瑋劭. "A Study of Gabriel Fauré's Early Piano Music―op.33-1, op.26, op.25 as Examples." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/wgu57k.
Full textAbstract:
碩士輔仁大學
音樂學系
104
The political impact in France in the late nineteenth century contributed to a new current of thought that contains an independent and liberal quality. Fauré (Gabriel Urbain Fauré, 1845- 1924), a French composer who did not come under Wagner’s (Wilhelm Richard Wagner, 1813-1883) dominant influence at that time, adhered to the spirit of French tradition by creating the elegant sound and pure form of works, and thus became the most important composer during the post-romantic period. Fauré’s early piano works shows the influence of Chopin and other predecessors, such as the favor of traditional form and composing within the realm of tonality. Furthermore, he combined tonality and modality and used consecutive dissonance which made his work own exclusive characters. This paper will focus on Fauré’s three early piano works, op.33-1, op.26, and op.25. Through study and analysis, the author hopes for a more appropriate interpretation of Fauré’s French spirit.
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Becker, Marianne. "The songs of Richard Strauss Op. 10 to Op. 56." Thesis, 2015. http://hdl.handle.net/10539/16188.
Full textAbstract:
This study is concerned with an analysis of tne songs of Richard
Strauss, op. 10 to op.56. The years during which these compositions
were created (1882-1906) not only demonstrate clearly Strauss's
individual development as a composer, but also represent a time of
great change in music history generally, since they bridge the
T.ate-Romantic and Twentieth-Century styles. Strauss stands as a
central figure amidst all these developments and his music
consequently reflects the spirit of those times. As a result,
certjain issues had to be investigated before the songs could be
analysed. The most important of these are:
i Whether his music can be regarded as tonal or not;
ii How far the ideal of Musik als Ausdruck influenced his compositions.
The analyses of the songs were used to verify the findings that:
i His works are generally not structured according to tonal principles
(if tonality is defined as existing because of a hierarchical
structuring of tonal materials around a central tonic) despite their
consonant nature;
ii Musik als Ausdruck was the single most important element in his
musical philosophy and all else was subjugated to this ideal.
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Košíček, Vít. "Klavírní dílo S. Prokofjeva a jeho interpretační přínos." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-334729.
Full textAbstract:
The purpose of this thesis is to introduce a musical work of one of the world's most favorite composers of the 20th century - Sergej Prokofiev. Even though I would like to address all his pieces, given the extensiveness of his work and my profession as a pianist and a pedagogue, I decided to focus only on the pieces for solo piano. I detail each piano piece in a catalogue organized by opus number. My analysis focuses on compositions, eventually on cycles, which can be somehow beneficial to us. Beneficial, in this sense means exposure to pieces with variety of character, use of melody and eventually pieces from a various work periods. Another condition during a selection of pieces for my dissertation was various levels of difficulty. The majority of my thesis is dedicated to the piano sonatas. Although they are not very long, they belong to the piano masterpieces forever. Further, I mention less performed Etudes, Op. 2 and Visions fugitives, Op. 22, and on the other hand well known Suit from Romeo and Juliet, Op. 75. The music for children is represented in my analysis by one piece only - Children's Songs, Op. 65. Prokofiev wrote nearly 40 opuses for piano, which makes up almost a third of his work. That is a remarkable number and these pieces are worth interest.
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Yu-Jung, Hsieh, and 謝育容. "An Interpretational Study of Felix Mendelssohn’s Rondo Capriccioso Op.14, Fantasie Op.18 and Variations Serieuses Op.54." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/70324139137577943045.
Full textAbstract:
碩士中國文化大學
音樂學系碩士班西洋音樂組
100
This thesis is focused on Felix Mendelssohn’s Rondo Capriccioso op.14, Fantasie op.28 and Variations Serieuses op.54. It consists of six chapters. The first chapter, introduction, includes the studies of motives, purposes, scope and methods. The second chapter explores for a summary of Mendelssohn’s lifetime events and music creative background. The third chapter is an analysis and interpretation of Rondo Capriccioso op.14. The fourth chapter is an analysis and interpretation of Fantasie op.28. The fifth chapter is an analysis and interpretation of Variations Serieuses op.54. The sixth chapter combines the creative background, style, analysis, interpretation of these three Mendelssohn’s piano works into a conclusions.
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Grobler, Leon Pieter. "Spiritualiteit as perspektief op adolessensie : 'n studie gerig op pastorale beraad." Thesis, 1997. http://hdl.handle.net/10500/16884.
Full textAbstract:
Text in AfrikaansAdolessensie is die ontwikkelings- en oorgangsperiode tussen kindertyd en volwassenheid. Alhoewel adolessensie 'n bepaalde konflikkarakter het, kan dit nie kategories as 'n storm-en-drang probleemstadium tipeer word nie. Adolessensie is 'n positiewe stadium wat gekenmerk word deur groei en nuwe uitdagings. Adolessensie word gekenmerk deur ingrypende veranderinge met betrekking tot die terreine van die fisiologies-somatiese, kogni ti ewe, emosionele, identiteit, sosiale, morele en religieuse. 'n Multidimensionele perspektief is dus n vereiste met die oog op n verstaan en definiering van adolessensie. Om hierdie rede kan adolessensie vanuit 'n verskeidenheid van teoriee beskryf word. Hierdie biologiese, psigoanali tiese, psigososiale, antropologiese en ekologies-kontekstuele teoriee gee egter geen aandag aan 'n teologiese orientasie nie. Verder bied nie een van hierdie teoriee 'n perspektief wat die ontwikkelingsterreine tot 'n eenheid integreer nie. Die gevolg is dat daar nie 'n kernstruktuur is wat die verskillende ontwikkelingsveranderinge en ontwikkelingstake kan orden en 'n teologiese betekenis (semantiek) daaraan kan toeken nie. Binne die raamwerk van 'n prakties-teologiese orientasie word 'n Christelike spiritualiteit as teologiese perspektief op adolessensie beskou. Spiritualiteit is die mens se dinamiese respons op die transendente werklikheid. Vanuit 'n Bybelse antropologie word die mens beskou as 'n relasionele wese wat in die teenwoordigheid van God leef (die coram Deo beginsel). Die mens se totale lewe (ook die adolessent se ontwikkelingsveranderinge) word op God betrek. Spiritualiteit as semantiese struktuurkern funksioneer as geestelike lens wat 'n bepaalde fokus op die adolessent se ontwikkeling bied, en wat die verskillende ontwikkelingsprosesse tot 'n geiintegreerde geheel saamtrek. Deur spiritualiteit word adolessensie 'reframe' en as transendentteologiese roepingsterrein beskou. Die adolessent word geroep om die Skriftuurlik-evangeliese beginsels te internaliseer met betrekking tot eie ontwikkelingsprosesse. Die pastorale implikasie is dat die berader die proses waardeur 'n integrasie plaasvind tussen adolessente se spiri tualiteit en hul ontwikkelingsprosesse en probleemhantering, moet fasiliteer. Hierdie dinamika kan optimaal realiseer indien die berader binne die raamwerk van 'n relasie (as ontmoetingsgebeure) orienteer aan 'n epistemologie van deelname. In die beraadproses moet adolessente as verantwoordelike wesens beskou word wat betekenis aan eie ontwikkeling en probleme toeken. Verder moet pastorale beraad ook interdissipliner, ontwikkelingstoepaslik en ekosistemies gerig wees.
Adolescence is the developmental and tccansitional stage between childhood and adulthood. Although adolescence is marked by conflict, it should not be categorised as a problem period. It is a positive stage characterised by growth and challenging new processes. Adolescence is characterised by radical changes in the physiologicalsomatic, cognitive, emotional, identity, social, moral and religious spheres. A multidimensional perspective is therefore a prerequisite for understanding and defining adolescence. Adolescence can thus be described in terms of a wide range of theories. These biological, psychoanalytical, psychosocial, anthropological and ecological-contextual theories devote no attention to a theological orientation. None of the theories can offer an integrating and unifying perspective in regard to the developmental areas. The result is a lack of a centre of structure that has an ordering and theological meaning-qi ving (semantic) function with reference to the variety of developmental changes and tasks. Within the framework of a practical-theological orientation, a Christian spirituality is considered as theological perspective on adolescence. Spirituality is a person's dynamic response to the transcendent reality. A Biblical anthropology compels us to view human beings as relational beings who live in the presence of God (the coram Deo principle). Every aspect of a person's life (the adolescent's developmental changes included!) is implicated in this relationship with God. Spirituality as centre of semantic structure functions as a spiritual lens. It presents us with a particular focus on the development of the adolescent, and it integrates and unifies the developmental processes. By means of spirituality, adolescence is reframed and viewed as a transcendenttheological vocation. The adolescent is called to internalise the Biblicalevangelical principles with reference to his/her developmental processes. The pastoral implication is that the counsellor should facilitate the process through which adolescents integrate their spirituality with their development and management of problems. This dynamics can best be achieved within the framework of a relationship (personal encounter) in which the counsellor functions on the basis of an epistemology of participation. In the counselling process adolescents must be seen as responsible beings who can contribute meaning to their development and problems. Pastoral counselling should also be an interdisciplinary, developmentally appropriate and ecosystemic process.
Philosophy, Practical & Systematic Theology
D. Th. (Practical Theology)
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Klopper, Leon Jacobus. "Invloed van belasting op toegevoegde waarde op die bestuur van kontantvloei." Thesis, 2014. http://hdl.handle.net/10210/10689.
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余彩雯. "Johannes Brahms' Juchhe! Op.6, No.4 Lerchengesang Op.70, No.2 Auf dem Schiffe Op.97, No.2." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/54122881072228632148.
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Chung, Man-Lin, and 鐘曼綾. "A Study of Kabalevsky’s Piano Works ---Thirty Children’s Pieces, Op. 39; Easy Variation, Op. 40; and Sonatina Op.13." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/57930216570321423276.
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碩士國立屏東教育大學
音樂學系碩士班
95
Russian piano art has astonished the world since 19th century. Either music performers or composers, they all highly receive the world’s attention and focus. Numerous people are enchanted by Russian’s unique ethnicity and music style. This research aims to explore in depth the piano works and educational ideals of contemporary Russian musical educationist, and hereby reveal the mysterious Russian music historical culture. By analyzing Kabalevsky’s children piano works, we can further get familiar with Russian music characteristics and education and gain a good command of this composer’s style of interpretation and implication. After analyzing three Kabalevsky piano works(“Thirty Children’s Pieces, Op. 39; Easy Variation, Op. 40; and Sonatina Op. 13), the following conclusions were made: (1) His work is integrated with “three whales” music educational ideals and diverse styles are created. (2) The structure of his work is simple, but he made an attempt on various forms. (3) Step-by-step playing skills take both old experiences and new skills learning into account. (4) Polished melody and the changes of the beat all present Russian ethnic styles. (5) Rhythms are distinct and obvious; various changes appear in the acoustics of harmony. Finally, according to research results, suggestions are provided for musical instrument playing, teaching and future studies, hoping to bring up references for Russian contemporary music pieces players and future researchers.
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CHEN, Pi-Cheng, and 陳璧崢. "The harmonic structure of Sergey Rakhmaninov''s piano preludes in Op.3, No.2; Op.23 and Op.32." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/65414993742469558115.
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碩士中國文化大學
藝術研究所
86
Subject: The harmonic structure of Sergey Rakhmaninov''s piano preludes in Op.3, No.2; Op.23 and Op.32 Flourishing development around the end of nineteenth century, Russianmusic school which based on greater musical system of Western style, andRussian tradition had a prominent achievement in raising high class ofRussian music. Until now, to be an outstanding music group, Russian musicis different from other music. The ways of melancholy and nostalgiacharacteristics which are under controll by mode and bitonality. Consequently,natural major and minor mode constructed Russian music. Sergey Rakhmaninov (1873-1943) is a member of Russian music school, and is avery famous composer, conductor, and pianist of the world. His music isextremely fond to many people. What is the most important reason to bringsuch attractive music? Chromatic style is the primary symbolization in Late-Romantic period, and it also presents the combination of many kinds ofnationality. This research of the harmonic structure of Rakhmaninov''s 24 preludes which include Op.3, No.2; Op.23 and Op.32, is to realize whatmaterials constructed the only characteristic of Russian harmonic structures. There are some exotic harmonic connections of Russian music that have been summed up by four Russian music theorists, I. Dubovsky, S. Gevseyev, I.Sposobin and V. Sokorov. This reference inspired worker to get into 24 pianopreludes, more over the logic thinking of Russian harmonic style. To analyzeRakhmaninov''s works not only use Western theory system, but also the Russiantraditional music characteristic. In the process of this research, to insist this point is needed because the intrinsic musical language of Russian musiccame from Russian''s heritage. Russian harmonic structure constructed by varied subdominant chords,numerous polyphonic, and rich variation of chromatic style. Three of thempreserved the elements of Russian music, and obtains a greater achievementwhich influenced the future of music of the twentieth century. In these years,the growth of Chinese music is in the same way as Russian music had been before.This dissertation is a model for the Chinese to see how Russian music integrateswith Western classic music. It will enlighten one, who is going enthusistic in development of Chinese music.
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Hsiao, yin-ying, and 蕭嫈殷. "Tyzen Hsiao''s piano works of (memorise of home Op.49)(Toccata Op.57)(Etude Op.55)discussion." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/b67j85.
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