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Dissertations / Theses on the topic 'Sebastidae'

Author: Grafiati

Published: 2 June 2025

Last updated: 19 July 2025

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1

Muto, Nozomu. "Evolutionary and systematic studies of the Sebastes vulpes complex (Sebastidae)." Kyoto University, 2013. http://hdl.handle.net/2433/180369.

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Kyoto University (京都大学)<br>0048<br>新制・課程博士<br>博士(農学)<br>甲第17831号<br>農博第2016号<br>新制||農||1016(附属図書館)<br>学位論文||H25||N4788(農学部図書室)<br>30646<br>京都大学大学院農学研究科応用生物科学専攻<br>(主査)教授中坊徹次, 准教授田川正朋, 准教授豊原治彦<br>学位規則第4条第1項該当

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2

Linsley, Dennis Edward. "Melodic inversion in J. S. Bach's keyboard suites / by Dennis Edward Linsley." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7770.

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3

Chung, Erin H. "The Well-tempered clavier by J.S. Bach : a performance guide to twelve selected preludes and fugues arranged in order of ascending difficulty /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11280.

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4

Elbon, Virginia Elizabeth. "Symmetry and proportion generative and formative procedures of J.S. Bach's Brandenburg concerto no. 3 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1961.

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Thesis (M.M.)--West Virginia University, 2001.<br>Title from document title page. Document formatted into pages; contains vii, 33 p. : music, ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 31-32).

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5

Rupp, Michael. ""Narrenschiff" und "Stultifera navis" : deutsche und lateinische Moralsatire von Sebastian Brant und Jakob Locher in Basel 1494 - 1498 /." Münster [u.a.] : Waxmann, 2002. http://www.gbv.de/dms/bs/toc/342762966.pdf.

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6

Sackmann, Dominik. "Bach und Corelli : Studien zu Bachs Rezeption von Corellis Violinsonaten op. 5 unter besonderer Berücksichtigung der "Passagio-Orgelchoräle" und der langsamen Konzertsätze /." München ; Salzburg : Katzbichler, 2000. http://catalogue.bnf.fr/ark:/12148/cb37120125j.

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7

Kiefer, Martin. "Sebastian Derrer - ein Freiburger Rechtsgelehrter der frühen Neuzeit und sein Werk zugleich ein Beitrag zur Epoche der humanistischen Jurisprudenz." Berlin Duncker & Humblot, 2009. http://d-nb.info/1000960269/04.

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8

Knape, Joachim. "Dichtung, Recht und Freiheit : Studien zu Leben und Werk Sebastian Brants, 1457-1521 /." Baden-Baden : V. Koerner, 1992. http://catalogue.bnf.fr/ark:/12148/cb357077435.

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9

Becker, Jörg. "Müller, Sebastian." Universität Potsdam, 2000. http://opus.kobv.de/ubp/volltexte/2008/2396/.

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Rezensiertes Werk: Inszenierter Fortschritt : die Emscherregion und ihre Bauausstellung / AKP. Sebastian Müller ; Rita A. Herrmann (Hg.). - Bielefeld : AKP, 1999. - 133 S. : Ill., graph. Darst., Kt. ISBN 3-9803641-3-5

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10

Peters, Manfred. "Johann Sebastian Bach als Klang-Redner : die Dispositio der römischen Oratorie als Beitrag zum Formverständnis ausgewählter Instrumentalfugen." Saarbrücken Pfau, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=014738632&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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11

Cho, Yoonju. "A study of Baroque tempo practices and their applications to the Violoncello suite no. 2 by Johann Sebastian Bach /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11292.

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12

Beisswenger, Kirsten. "Johann Sebastian Bachs Notenbibliothek /." Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35518086m.

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13

Boresch, Hans-Werner. "Besetzung und Instrumentation : Studien zur kompositorischen Praxis Johann Sebastian Bachs /." Kassel ; Basel ; London : Bärenreiter, 1993. http://catalogue.bnf.fr/ark:/12148/cb35642932h.

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14

Fanselau, Clemens. "Mehrstimmigkeit in J.S. Bachs Werken für Melodieinstrumente ohne Begleitung /." Sinzig : Studio, 2000. http://catalogue.bnf.fr/ark:/12148/cb39996123d.

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15

Zwetzschke, Jana. ""...ich bin sicher, dass ich ihn lieben lerne..." : Studien zur Bach-Rezeption in Russland /." Hildesheim : G. Olms, 2008. http://catalogue.bnf.fr/ark:/12148/cb41430472w.

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16

Green, Curtis A. "A comparison of selected editions of Bach's Suite no. 5 in C minor, BWV 1011." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/822.

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17

Metzger-Rambach, Anne-Laure. ""Le texte emprunté" étude comparée du Narrenschiff de Sebastian Brant et de ses adaptations, 1494-1509 /." Paris : H. Champion éd, 2008. http://catalogue.bnf.fr/ark:/12148/cb41232294s.

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18

Weber, Sebastian [Verfasser]. "Zerreißproben / Sebastian Weber." Kassel : Universitätsbibliothek Kassel, 2014. http://d-nb.info/1064965148/34.

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19

Turnbull, Catherine. "Performing the Bach cello suites on the viola /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19293.pdf.

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20

Jokic, Natasa. "Flute partita a-minor BWV 1013 : arrangement for guitar." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-60.

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21

Dellsperger, Yvonne. "Lebendige Historien und Erfahrungen Studien zu Sebastian Francks "Chronica Zeitbuoch vnnd Geschichtbibell" (1531/1536)." Berlin Erich Schmidt, 2006. http://d-nb.info/987049925/04.

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22

Cole, Warwick. "The performance of small-note VorschlaÌˆge in the keyboard and chamber music of J.S. Bach". Thesis, Birmingham City University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248605.

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This study is concerned with conventions of notation and of performance in the music of Johann Sebastian Bach. The small-note Vorschlag represents one of the most puzzling and least understood aspects of western musical notation during the period under discussion. Although the issue has been examined extensively in the past. the lack of consensus among scholars and performers - coupled with Bach's copious use of the small-note Vorschlag - indicates that a reassessment is warranted. The aim is to arrive at an understanding of Bach's notation of the Vorschlag and its implications for informed performance of his music. Initially, the study places Bach's notation within the context of contemporary practice. An examination of the composer's awareness of French and German music reveals that both anticipatory and 'on-beat' resolutions of the ornament were current during Bach's professional life. A relationship between differing resolutions and notation is identified - 'schematic' notation - in the music of Dieupart, Walther, Telemann and Muffat where contrasted sigla are employed to indicate the metrical placement of the ornament. Additionally, Bach's custom of using the Vorschlag in both written-out and small-note forms is investigated. The core of the study is contained in a series of case-studies. Following a broadly chronological sequence, these case-studies examine in detail Bach's use of differing notational forms for the Vorschlag. Through the application of comparative analytical methods, the extent to which Bach's practice reflects that of his contemporaries is assessed, and how far the evidence permits judgement as to Bach's intended resolution of the ornament.The final chapter provides a synthesis of the findings of the study. In so far as they may be determined, the conventions of performance current in Bach's music are defined. From this, it emerges that there is a loose correlation between notation and metrical placement. The study concludes by considering the implications of how this observation impacts on an understanding of Bach's ornamental style, in particular his assimilation of new stylistic currents in the last two decades of his life.

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23

Säfström, Lovisa. "Cellosvit nr 1 av J.S. Bach." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2082.

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24

Heck, Michèle-Caroline. "Sebastien stoskopff peintre de natures mortes (1597-1657)." Université Marc Bloch (Strasbourg) (1971-2008), 1995. http://www.theses.fr/1995STR20041.

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Sebastien stoskopff : sa vie, son oeuvre. Sa vie a ete resituee dans les divers contextes culturels et artistiques. Son oeuvre est reconstituee dans un catalogue, mais egalement etudiee par rapport a la creation contemporaine en allemagne, france, flandre, hollande, et italie. Cette triple approche permet de mettre en evidence les particularites de l'artiste, tant du point de vue pictural que iconographique<br>Sebastien stoskopff : his life and work. His life has been situated in the different cultural and artistic contexts. His work is presented in a catalogue, and compared with the contemporary creation in germany, france, flander, holland, and italy. This threefold approach helps to show the artist's specific stylistic, as well as iconographic, characters

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25

Bertling, Rebekka. "Das Arioso und das ariose Accompagnato im Vokalwerk Johann Sebastian Bachs /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb355394673.

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26

Kempen, Suzanne van. "Bach - musikpädagogisch betrachtet." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/996278222/04.

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27

Klingfors, Gunno. "Bach går igen : källkritiska studier i JS Bachs uppförandepraxis /." Göteborg : Göteborgs universitet, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955876f.

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28

Matyl, Ulrich. "Die Choralbearbeitungen der Schüler Johann Sebastian Bachs /." Kassel ; Basel ; London : Bärenreiter, 1995. http://catalogue.bnf.fr/ark:/12148/cb36959513p.

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29

Hartl, Nina Locher Jakob Brant Sebastian. "Die "Stultifera navis" Jakob Lochers Übertragung von Sebastian Brants "Narrenschiff /." Münster : Waxmann, 2001. http://catalogue.bnf.fr/ark:/12148/cb39951022r.

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30

Kao, Shu Phyllis. "Affective gesture in J.S. Bach's keyboard music with special reference to selected works in D minor /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17313867.

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31

Salmen, Rebecca L. "Performance practice and analysis of Johann Sabastian Bach's Aria for tenor and flute obbligato, Wo wird in diesem Jammertale, from Cantata BWV 114." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/827.

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32

Vetter, Sebastian [Verfasser], and Sebastian [Akademischer Betreuer] Maier. "Elektrophysiologische Charakterisierung von STIM2-Knock-Out-Mäusen / Sebastian Vetter. Betreuer: Sebastian Maier." Würzburg : Universitätsbibliothek der Universität Würzburg, 2013. http://d-nb.info/1033504394/34.

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33

Wiemann, Sebastian [Verfasser], and Sebastian [Akademischer Betreuer] Kaiser. "Erzeugung und Verwendung von Synthesegas in Verbrennungsmotoren / Sebastian Wiemann ; Betreuer: Sebastian Kaiser." Duisburg, 2018. http://d-nb.info/1162840331/34.

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34

Müther, Sebastian [Verfasser]. "Methodische Technologiemigration / Sebastian Müther." Aachen : Hochschulbibliothek der Rheinisch-Westfälischen Technischen Hochschule Aachen, 2011. http://d-nb.info/1018224696/34.

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35

Petsch, Sebastian [Verfasser], and Sebastian [Gutachter] Jander. "Systematische Zweitsuche nach Vorhofflimmern während der neurologischen Schlaganfallrehabilitation / Sebastian Petsch ; Gutachter: Sebastian Jander." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2017. http://d-nb.info/1128818124/34.

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36

Dequevauviller, Vincent. "Etude sur certains procédés architectoniques, en particulier numériques, dans la composition des oeuvres de Jean-Sébastien Bach." Paris 4, 2003. http://www.theses.fr/2003PA040070.

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L'objectif de la thèse est analytique : essayer de mettre en valeur des régularités formelles récurrentes dans quelques pièces et cycle de Bach. On observe d'abord que le triple-prélude et la triple-fugue en mi bémol majeur, opposés en apparence, utilisent le même principe de construction : une succession de périodes disposées par paires (quatre paires pour le prélude, trois pour la fugue). En outre, la longueur des périodes (c'est-à-dire leur nombre de mesures) suit des règles arithmétiques rigoureuses, utilisant des catégories particulières de "nombres remarquables" (signatures, miroirs, etc. . . ). La thèse est consacrée à l'étude approfondie de cette technique de construction, à la fois formelle et numérique. On étudie d'autres pièces d'orgue, puis un concerto Brandebourgeois. On étend ensuite aux cycles, qui fonctionnent de la même façon : l'art de la fugue et la Messe en si mineur, si dissemblabes en apparence, sont unies par ds liens cachés. Finalement, les observations permettent de proposer quelques hypothèses générales sur la méthode compositionnelle de Bach<br>The thesis is analytical : it tries to show some regularities in a few pieces and works of J. S. Bach. It begins with the prelude and fugue in E-flat : these two pieces are built on the same architectural principle : the regular sequence of sections, eight for the prelude, six for the fugue. Besides, the number of bars of the sections seems to be controlled, using for some special categories of numbers (signatures, mirrors, and so one). The thesis tries to find some other exemples in organ works (toccata and fugue in F major, toccata and fugue "the dorian"; prelude and fugue in b minor), the sixth brandenburg concerto, The Art of fugue, the Leipzig Chorals, the Trio Sonatas, the Canonic variations, the Schübler Chorals, the Inventios and Sinfonias. It ends with the mass in b minor. In conclusion, some hypotheses are proposed, about Bach's general compositional method

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37

Weman, Ericsson Lena. ""... världens skridskotystnad före Bach" : historiskt informerad uppförandepraxis ur ett kontextuellt musikontologiskt perspektiv, belyst genom en fallstudie av Sonat i E-dur, BWV 1035, av J S Bach." Piteå Department of music and media, Luleå University of Technology, 2008. http://epubl.ltu.se/1402-1544/2008/54/LTU-DT-0854-SE.pdf.

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38

Lim, Aesook. "The long chorale preludes of J.S. Bach (1685-1750) study of accompaniments, together with three recitals of selected work by Dietrich Buxtehude (1637-1707), J.S. Bach, and Louis Vierne (1870-1937) and others /." connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/May2006/lim%5Faesook/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 15, 1999, July 16, 2001, Apr. 29, 2005, and Nov. 17, 2005. Includes bibliographical references (p. 36-37).

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39

Ngo, Nightingale. "From the Baroque to the Classical: The Organ Works and Contributions of W. F. Bach, C. P. E. Bach, J. C. Bach, and J. Krebs." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/187.

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Johann Sebastian Bach is considered the foremost organist and composer of organ music of his time. His vast knowledge of the instrument and his ability to reveal the organ?s brilliance were unparalleled, taking the organ to its peak in the Baroque era. Bach perfected many musical styles and forms of the day, and also became well-known for his improvisational skills. However, by the end of Bach?s life, the styles and forms began to change. The forms Bach knew so well slowly gave way to new ideas, signaling the beginning of what music historians label the ?Classical? period. It was during this time that the popularity of the organ began to decline. Bach?s children left behind their father?s musical styles to try new, emerging styles. Although several did continue to compose for the organ, they composed mainly for other keyboard instruments or orchestras. In the middle of the eighteenth century, the Enlightenment changed not only the role of the church, but also people?s view of the church as well. Liturgical changes were made and the organ was viewed as part of the old style. Orchestras replaced the organ and, for the most part, organists either improvised or took a step back from their duties. However, the decline of organ music in the classical period did not equate to its complete disappearance. Bach?s compositions lost favor with the general public after his death, and his successors were left to carry on his legacy and the art of the organ. While Bach?s contributions to the organ world are vast and well-documented, the works of his successors are less familiar. This thesis will focus primarily on the organ repertoire of Bach?s successors during the period of change, the Pre-Classical period. The contributions of Bach?s best-known pupil, Johann Krebs, have been well documented, and research on Krebs is the starting point for this thesis. Research on Bach?s children and his other pupils is available, but one would be hard-pressed to find more than one or two articles of any length on their individual contributions. This thesis will attempt to combine the research on Bach?s sons and students, and reveal their contributions to organ literature as a bridge between Baroque and Classical periods. The first chapter will discuss Bach?s keyboard contributions, as well as styles prevalent in the Pre-Classical period. The second through fourth chapters will discuss Bach?s sons ? Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christian, respectively. The fifth and sixth chapters will include Johann Ludwig Krebs and Bach?s last two pupils. Research for this thesis primarily relies on books and scholarly articles about the Bach family and organ literature of the time period. Databases such as JStor, WorldCat, and the New Grove Dictionary of Music and Musicians have been used to locate articles and recent findings. Research on this particular subject is not adequately covered in English. Most are written in Bach?s native language, German, with very few translated into the English language. This thesis covers both German and English articles, books, and journals on the topic.

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40

Harris, Raymond Stanley. "Scripture in song J.S. Bach's exegesis of Matthew 26 and 27 in the S̲t̲.̲ M̲a̲t̲t̲h̲e̲w̲ P̲a̲s̲s̲i̲o̲n̲ /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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41

Person, Gretchen E. "The expression of joy." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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42

Sandberger, Wolfgang. "Das Bach-Bild Phlipp Spittas : ein Beitrag zur Geschichte der Bach-Rezeption im 19. Jahrhundert /." Stuttgart : F. Steiner, 1997. http://catalogue.bnf.fr/ark:/12148/cb35869634t.

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43

Heinemann, Michael. "Die Bach-Rezeption von Franz Liszt /." Köln : Studio, 1995. http://catalogue.bnf.fr/ark:/12148/cb357825583.

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44

Teuber, Richard. "Die Bach-Rezeption im frühen Instrumentalwerk Paul Hindemiths /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37218777b.

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45

Cantoni, Angelo. "La référence à Bach dans les oeuvres néo-classiques de Stravinsky /." Hildesheim ; Zürich ; New York : G. Olms, 1998. http://catalogue.bnf.fr/ark:/12148/cb369686566.

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46

Cantoni, Angelo. "La référence à Bach dans les oeuvres néo-classiques de Stravinsky : sa fonction dans le renouvellement stylistique du compositeur /." Tours : [A. Cantoni], 1994. http://catalogue.bnf.fr/ark:/12148/cb401156670.

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47

Schulz, Matthias [Verfasser], Sebastian [Akademischer Betreuer] Möller, Sebastian [Gutachter] Möller, Hartmut [Gutachter] Wandke, and Sebastian [Gutachter] Feuerstack. "Simulation des Interaktionsverhaltens von Senioren bei der Benutzung von mobilen Endgeräten / Matthias Schulz ; Gutachter: Sebastian Möller, Hartmut Wandke, Sebastian Feuerstack ; Betreuer: Sebastian Möller." Berlin : Technische Universität Berlin, 2016. http://d-nb.info/1156179734/34.

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48

Salvadori, Stefania. "Sebastiano Castellione e la ragione della tolleranza : l'"ars dubitandi" fra conoscenza umana e "veritas" divina /." [S.l.] : [s.n.], 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788884838575.

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49

Abravaya, Ido. "On Bach's rhythm and tempo /." Kassel [u.a.] : Bärenreiter, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014918243&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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50

Holderbaum, Sebastian [Verfasser]. "Gesellschafterdarlehen und Niederlassungsfreiheit / Sebastian Holderbaum." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2013. http://d-nb.info/110881915X/34.

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