DOCSLIB.ORG

German-English Dictionary for Electronics Engineers And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
German-English Dictionary for Electronics Engineers And iü— °^ GERMAN-ENGLISH /s DICTIONARY ^ •* for ELECTRONICS ENGINEERS and PHYSICISTS With a Patent-Practice Vocabulary By BERNARD R. REGEN Researcher and Translator And RICHARD R. REGEN Physicist and Field Engineer Magnetic Analysis Corporation First Edition 1946 J. W. EDWARDS "» ANN ARBOR, MICHIGAN Copyright 1946 by Bernard R. Regen and Richard R. Regen This book or any part thereof must not be reproduced without the per- mission of the publisher Lithoprinted by Edwards Brothers, Inc. Ann Arbor, Michigan, U.S.A. To Nelson M. Cooke and John Markus, Authors of Electronics Dictionary n o t Uj LIBRARY PREFACE *+: if ASS 4> V "L'avenir de electricite, c'est dans le vi future of electricity lies in the vacuum.) This remark, made before the Academie a generation ago by a famous French physicist, has proved to be prophetic. For the world has witnessed amazing developments in that branch of electricity which is based upon the employment of a vacuum: ELECTRONICS. Yet in spite of these great developments (or possibly be- cause of them), and in spite of an increasingly urgent need for foreign-language dictionaries, students of electronics and allied problems have been forced to proceed without a lexicographical tool which brings together the terminologies of the two languages most vital to their work, German and Engl ish. The authors believe that this volume will be wel- comed by all electronics engineers and all physicists, not- withstanding certain limitations in size and scope which have been imposed by the war. It contains nearly 21,000 en- tries, representing most of the terminology current in 1939 and an appreciable number of terms introduced during the war years. Owing to a lack of earlier Ge rman- Engl i sh dictionar- ies in the general field of physics, the task of compilation has proved unusually difficult. The only outstanding refer- ence books hitherto available for consultation have been Sattelberg's Worte rbuch de r el ek t ri sehen Nach rich ten technik (1926) covering the signal art in general, and Austin M. Patterson' s famous German-English Pi c tiona ry f o r Chemi s t s (19 35). The bulk o~T the material Tri th e present vo lume has been drawn from magazines, scientific journals, books, and patent literature. The definitions gleaned from other books have in most instances been amplified and re-worded. A somewhat unorthodox policy has been followed by frequently adding explanatory annotations to the English- language expressions. This has been done in order to supply related terminology for the benefit of the reader who may be unfamiliar with a given subject. Ample cross-references have been inserted throughout. And for those who desire fuller information, source and reference books- - i eluding a number of outstanding works of British origin--have been listed in a bibliography. The authors recommend purchase of some of the items included in this list, particularly the El ect roni cs Pic tionary by Nelson M. Cooke and John Markus. Indeed, the authors are deeply indebted to these authors and their book for much valuable information. We also wish to express our gratitude to all those who have aided us in one way or another, especially to E. R. Weinmann, Arthur Worischeck, Walter Brunberg and Dr. G. Orn- sen who assisted in the proofreading. We shall be equally grateful to those who bring to our attention such errors, imperfections, and omissions as are inevitable in the first printing of a work which is a pioneer in its field. A re- vised and amplified edition is being planned for a future date, and correspondence with the authors is solicited from those wishing to co-operate in the compilation of a revised text. The Twelve Acres, Bernard R. Regen Stone Ridge, N.Y. Richard R. Regen and 55 W. 42nd Street, New York, 18, N.Y. August, 1946 f f . , BIBLIOGRAPHY Andretto, P. C. Principles of Aeronautical Radio Engineering. 1942. Chamber's Technical Dictionary. 1944. Cooke, Nelson M. & Markus, John. Electronics Dictionary. 1945. Drake's Cyclopedia of Radio and Electronics. 1943. Gherardi, A. A. Modern Radio Servicing. 1936. Jacobs, Donald H. Fundamentals of Optical Engineering. 1936. Keen, R. Wireless Di rec tion- indi ng. 19 38. Manly, Harold P. Radio and Electronics Dictionary. 1931. Olson, Harry F. Elements of Acoustical Engineering. 19 40. Patterson, Austin M. A Ge rman- Engl i sh Dictionary for Chemists 1935. Roget's Dictionary of Electrical Terms. 1943. Zworykin, V. K., and Morton, G. A. Television. 1940. Ardenne, Manfred von Handbuch der Funktechnik. 3 vols. 1935-1938. Kohlrausch, F. Praktische Physik. 1944. Sattelberg, Otto. Wörterbuch der elektrischen Nachrich- tentechnik. 1926. Schröter, F. Fernsehen. 19 37. Magazines covering radio, sound-film, television and relat- ed physical sciences and technological arts; foreign- literature reviews regularly appearing in some of them. Abstract journals such as Science Abstracts (A & B) Physikalische Berichte, etc. Patents. ABBREVIATIONS a-c; a.c. alternating current 1 dspk ac. acousti cs a-m amplitude modulation AF; a- audio frequency avc automatic volume con t rol c.-r.;CR t. cathode-ray tubes cer. ceramics chem. chemistry cr. crystallography d-c; d. c. direct current d. f. di rection- finding el. engg. electrical engineer- ing el. opt. electron optics f-m; FM frequency modula- tion a.a.O. in the place cited, loco ci- rays or a beam, blanking or tato, quoted reference. blanketing means. Abänderung change, alteration, modi- Abblendung, Iris- irising out. fication, amendment. abbreiten stretch out, flatten. Abänderungspatent re-issue patent. abbremsen decelerate, retard, brake abarten vary, degenerate. (electrons, etc. ). Abbau decomposition, disintegration, Abdeck-aufzeichnung masking record- degradation, attrition. Frequenz- ing, matting, -blende shutter, frequency division, f .submultipli- mask, shutter m. -doppel zacken- cation. -mittel disintegrant. spur duplex variable -area track -verhinderndes Mittel anti-disin- -einfachzackenspur unilateral tegrant, stabilizer. variable-area track. abbiegen bend off or away, bend an- abdecken (cf .abblenden) diaphragm, gularly; turn off. mask, eclipse (beam or pencil, by abbilden image, focus. shutter, etc.), occult (a lens); abbildende Ringelektrode focusing uncover; cover; provide a resist • ring (el. opt.). coat (in metal etching). Abbildung imaging, imagery, image Abdeck-f lligel masking or shutter formation; f igure(Fig. ), illustra- blade or vane. - sehe i be shutter tion, drawing, sketch, cut. disk with spiral slot, stop disk Abbildung, geteilte split focus with spiral slot cyclically co- (Walton method of scanning). -, operating with quadruple-spiral image. -, komatische comatic kon- scanning disk apertures (telev. ). forme conformable representation. -seite masked side (m.p.). -, punktförmige point image. -, -streifen squeeze unit, barrier punktuelle point focal vision or (m.p. film). imagery. Abdeckung, Einfachzackenschrift mit Abbildungs-fehler defect of image, unilateral variable-area track aberration ( opt. ). -gegenständ im- made with single-vane shutter. aging object, -optik imaging "op- Abdeckverfahren shutter mask meth- tic", focusing o. -vermögen re- od. solving power (opt., micr.). abdichten seal, pack, provide abblättern scale (off), shell, chip glands or peel off, descale, defoliate, Abdichtung tight seal, packing, exfoliate. hermetic plumbing. Abblendekapotte dimming cap. Abdrift drift (off course, of air abblenden (cf .abdecken) mask off, plane, etc.). -visier drift me- stop down (with masking dia- ter. phragm), occult, diaphragm, gate, abdrosseln throttle, choke. blank, dowse (a beam), wipe, dis- Abdruck copy, impression, print, solve, fade or black out.. cast, counterpart, replica. Abbl ender, Strahl- means to mask, Abdruck, Kontakt- contact print stop, occult or eclipse dowse, (phot.). Probe- proof, p. print, p. sheet. 62190 . abdrucken abgezweigt abdrucken print, reproduce or copy Abflugszeit outward flying time (by printing or impression); (away from airport, in ZZ landing). stamp. Abfluss leak path (for grid current). abdunkeln darken, cut off or dim -hahn discharge cock, drain c. (light), occult, eclipse, obscure, -ventil discharge valve, drain v. blanking or gating of spot (in abfressen corrode, eat away or up. telev. ). Abfühl nadel pecker, selecting nee- Aberkennung abrogation, abjudica- dle. tion, deprivation. Abfuhr outlet (e.g., in water-cooled Aberration, Flächen- zonal aberra- tube ) tion. Abführung, Wärme- heat dissipation, aberregen de-energize, de-activate. h.loss, h."abduction", effect of Aberregung, Relais- de-energization carrying or conducting away heat. of a relay. abfüttern case, line. abfachen classify; partition, form Abgabe import duty, tax, fee, royal- compartments. ty; emission (of radiations, elec- Abfall drop, fall, droop, decline, trons, etc.). descent; waste, scrap, refuse, Abgabefläche, Elektronen- electron discard. emitting area. abfallen fall or drop down or off, Abgangswinkel angle of departure. slope down, droop, release (a re- abgeflachte Spannung flat-topped po- lay). tential(wave). Abfallprodukt by-product, waste p. abgegl ichen balanced, equalized, abfangen capture, catch, intercept; aligned; flush. pull (an airplane) out of a dive abgehender Strom outgoing current. and level off. abgehende Wirbel bahnen trailing vor- abfasen chamfer, face. tices(airfoil). abfasern lose fibers, fuzz. abgekantet chamfered, beveled, abfassen frame, draft, prepare canted. (text), write, draw up (a specifi- abgeklungene Emanation emanation cation, etc.). with diminished or decaying radio-
Load more

Recommended publications
  • Summach, the Structure, Function, and Genesis of the Prechorus
    Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory The Structure, Function, and Genesis of the Prechorus (1) Jay Summach NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.summach.php KEYWORDS: popular music, rock music, form, prechorus, sentence, srdc ABSTRACT: Prechoruses emerged in the mid-1960s as verse-chorus and strophic forms converged upon a four-part formal disposition that Everett (1999) calls “statement, restatement, departure, and conclusion,” or srdc. This study traces the expansion of the srdc scheme from its compact deployment in strophes to expanded iterations that approximate verse- chorus form. Received February 2011 [1] This article examines an episode in the evolution of verse-chorus form in pop/rock music. Until the mid-1960s, most verse-chorus songs alternated between the two formal sections from which verse-chorus form takes its name: verses and choruses. Example 1, Mark Dinning’s “Teen Angel,” illustrates the form.(2) As is typical for verse-chorus songs, the focal point of “Teen Angel” is the chorus: it contains the most engaging musical material; its unchanging lyric makes it easy to remember; and it is marked for special attention by additional vocal and instrumental parts. The verses, on the other hand, provide context: each verse advances the song narrative by presenting fresh lyrics; and the music is more modest in instrumentation and intensity so as not to steal attention from the chorus. In “Teen Angel,” the tempo is treated flexibly during the verses, which further distinguishes them from the choruses.
    [Show full text]
  • MUS 233 Form I Form: the Shape of a Musical Composition As Defined By
    MUS 233 Form I Form: The shape of a musical composition as defined by all of its pitches, rhythms, dynamics, and timbres...a loose group of general features shared in varying degrees by a relatively large number of works, no two which are exactly the same. The New Harvard Dictionary of Music. Randel, Don Michael, ed. Cambridge: The Belknap Press of Harvard University Press, 1986. P. 320. Binary Form: A two part-form where the sections are equivalent, but not necessarily equal in length; as long as they balance each other in some sense. Each part usually repeats. The second half is longer and usually touches on other keys (X) before returning to the tonic. Balanced: In a binary form where the A and B sections end in a parallel (same melodic/harmonic material) way, but not necessarily in the same key. (Please disregard the Kostka/Payne definition, which relates the term to merely the length of each section). Sectional: The first part ends in tonic harmony (i.e. an authentic cadence on the original tonic). Thematic material ||: A :||: B :|| Harmonic content (maj) I-----------I V--------(X)-----------I (min) i-----------i V, V/III, III--(X)-----i Continuous: The first part ends in something other than tonic harmony (like on V, or on the tonic of a new key). Thematic material ||: A :||: B :|| Harmonic content (maj) I-----------V -----------(X)-----------I (min) i-----------V, V/III, III---(X)--------i Two reprise: A term used when the sections repeat (either written-out repeats or not). Ternary Form: A three-part (ABA’) form: ||:A :||: B A’ :|| (repeats not required) • A and A’ need not be 100% identical • Often the B section material is thematically related to the A section material.
    [Show full text]
  • Zilano Design for "Reverse Tesla Coil" Free Energy Generator
    Zilano Design for "Reverse Tesla Coil" Free Energy Generator Summary Document A for Beginners by Vrand Thank you Zilano for sharing your very interesting design and we all wish you the very best, keep up the good work! Energetic Forum http://www.energeticforum.com/renewable-energy/ This is a short document describing the work of Zilano as posted on the Don Smith Devices thread at the Energetic Forum so that other researchers can experiment and build their own working free energy generator to power their homes. Zilano stated that this design was based on the combination works of Don Smith, Tesla, Dynatron, Kapanadze and others. Design Summary Key points : - "Reverse Tesla Coil" (in this document) - Conversion of high frequency AC (35kHz) to 50-60Hz (not in this document) "Reverse Tesla Coil" is where the spark gap pulsed DC voltage from a 4000 volt (4kv) 30 kHz NST (neon sign transformer) goes into an air coil primary P of high inductance (80 turns thin wire) that then "steps down" the voltage to 240 volts AC a low inductance Secondary coil centered over the primary coil (5 turns bifilar, center tap, thick wire) with high amperage output. The high frequency (35kHz) AC output can then power loads (light bulbs) or can be rectified to DC to power DC loads. Copper coated welding rods can be inserted into the air coil to increase the inductance of the air coil primary that then increases the output amperage from the secondary coil to the loads. See the below diagram 1 : Parts List - NST 4KV 20-35KHZ - D1 high voltage diode - SG1 SG2 spark gaps - C1 primary tuning HV capacitor - P Primary of air coil, on 2" PVC tube, 80 turns of 6mm wire - S Secondary 3" coil over primary coil, 5 turns bifilar (5 turns CW & 5 turns CCW) of thick wire (up to 16mm) with center tap to ground.
    [Show full text]
  • Remembering Music
    lawrence m. zbikowski Remembering Music This article considers the role of memory in musical understanding through an exploration of some of the cognitive resources recruited for musical memory, with a special emphasis on processes of categorization and on the different memory systems which are brought to bear on musical phenomena. This perspective is then developed through a close analysis of the ways memory is exploited and expanded in To- ru Takemitsu’s Equinox, a short work for guitar written in 1993. Early in the second volume of Marcel Proust’s À la recherche du temps perdu (translated as In the Shadow of Young Girls in Flower) the narrator – having overcome a bit of awkwardness with Charles Swann – has become an intimate of Swann’s household, and the favored friend of his daughter Gilberte. On some days he joins the Swanns as they while away the afternoon at home, but on most occasions he joins them for a drive in the Bois de Boulogne. On occasion, before she changes her dress in preparation for their drive, Madame Swann sits down at the piano: The fingers of her lovely hands, emerging from the sleeves of her tea gown in crêpe de Chine, pink, white, or at times in brighter colors, wandered on the keyboard with a wistful- ness of which her eyes were so full, and her heart so empty. It was on one of those days that she happened to play the part of the Vinteuil sonata with the little phrase that Swann had once loved so much.1 This event provides Proust with an opportunity to reflect on the challenges of listening to music, and in particular on the difficulty of making something of a new piece on our first encounter with it.
    [Show full text]
  • 24. Debussy Pour Le Piano: Sarabande (For Unit 3: Developing Musical Understanding)
    24. Debussy Pour le piano: Sarabande (For Unit 3: Developing Musical Understanding) Introduction and Performance circumstances Debussy probably decided to compose a Sarabande partly because he knew Erik Satie’s three sarabandes of 1887, with their similarly sensuous harmony. There are no grounds for referring to Debussy’s Sarabande as ‘impressionist’, even though the piece is very similar in date to his Prélude à l’après-midi d’un faune. The term ‘neoclassical’ may be more suitable, although we do not hear the post-World War I type of ‘wrong-note’ neoclassicism of, for example, Stravinsky’s Pulcinella. In public performance Debussy’s Sarabande is most likely to be heard as part of a piano recital, along with the two other movements which flank it (Prélude and Toccata) from Pour le piano. Incidentally the suite was published in 1901, but the Sarabande (in a slightly different version to the one we know) dates back to 1894. Performing Forces and their Handling Sarabande, for solo piano, does not depend for its effect on any virtuosity or display. Marguerite Long, a pupil of Debussy, noted that the composer ‘himself played [the piece] as no one [else] could ever have done, with those marvellous successions of chords sustained by his intense legato’. A wide range is involved, from (several) very low C sharps to E just over five octaves higher; there are no extremely high notes. Some left-hand chords extend to well over an octave and have to be spread. Texture The texture is almost entirely homophonic, with much parallelism, and is often extremely sonorous on account of the many chords with six or more notes.
    [Show full text]
  • Binary & Ternary Forms
    Binary & Ternary Forms Formal Element Review • Motive: A motive is the smallest recognizable musical idea. o labeled with lowercase letters starting at the end of the alphabet • Phrase: a relatively independent musical idea that moves towards a cadence as its goal; a complete musical thought o labeled with lowercase letters starting at the beginning of the alphabet o subphrase: a musical unit smaller than a phrase but still a coherent gesture o sentence: a particular type of phrase or phrase group with an internal structure of 1+1+2 • Period: a pair of phrases that specifically work together in an antecedent-consequent relationship o First phrase (antecedent) will have an inconclusive cadence (half cadence or IAC) o Second phrase (consequent) will have a conclusive cadence (usually a PAC) Formal Structures • Formal structures are larger sections of music made up of these formal elements (phrases, periods, etc.) o typically labeled with uppercase letters starting at the beginning of the alphabet • Each standard formal structures contains a specific pattern of these larger sections (with minor variations) Factors to Consider in Formal Analysis • Key areas: in which key a phrase or section starts and/or ends o closed vs. open sections a closed section is self-contained - ends in the same key in which it begins with a conclusive cadence an open section is not self-contained - ends in a different key or with an inconclusive cadence - often features a half-cadence, modulation to the dominant, or modulation to the relative major • Motivic use: similar or contrasting motivic use within phrases or sections • Formal elements: phrases, cadences, periods, etc.
    [Show full text]
  • Flux-Balance Control for LLC Resonant Converters with Center-Tapped Transformers
    energies Article Flux-Balance Control for LLC Resonant Converters with Center-Tapped Transformers Yuan-Chih Lin, Ding-Tang Chen and Ching-Jan Chen * Department of Electrical Engineering, National Taiwan University, Taipei, Taiwan; No. 1, Sec. 4, Roosevelt Rd., Taipei 10617, Taiwan * Correspondence: [email protected]; Tel.: +886-2-3366-3366 (ext. 348) Received: 9 July 2019; Accepted: 19 August 2019; Published: 21 August 2019 Abstract: LLC resonant converters with center-tapped transformers are widely used. However, these converters suffer from a flux walking issue, which causes a larger output ripple and possible transformer saturation. In this paper, a flux-balance control strategy is proposed for resolving the flux walking issue. First, the DC magnetizing current generated due to the mismatched secondary-side leakage inductances, and its effects on the voltage gain are analyzed. From the analysis, the flux-balance control strategy, which is based on the original output-voltage control loop, is proposed. Since the DC magnetizing current is not easily measured, a current sensing strategy with a current estimator is proposed, which only requires one current sensor and is easy to estimate the DC magnetizing current. Finally, a simulation scheme and a hardware prototype with rated output power 200 W, input voltage 380 V, and output voltage 20 V is constructed for verification. The simulation and experimental results show that the proposed control strategy effectively reduces the DC magnetizing current and output voltage ripple at mismatched condition. Keywords: LLC resonant converter; center-tapped transformer; flux walking; flux-balance control loop; magnetizing current estimation 1. Introduction The LLC resonant converter is widely used in many different applications such as onboard chargers, server power systems, laptops, desktops, photovoltaic regeneration systems.
    [Show full text]
  • My Song Analysis: I Want to Hold Your Hand
    My Song Analysis: I Want to Hold Your Hand Artist: By: M. Mejia Music Appreciation Tempo of the Song • The TEMPO is FAST In music Fast tempo is called ALLEGRO Meter of the Song • The METER is 4 beats In music, a 4-beat pattern means that the song has a 4/4 time signature MOOD of the Song The MOOD of this song is rather HAPPY. The artist is communicating this by choosing a bright melody and fast tempo. The lyrics also support this feeling. • A happy mood usually means that the song is in a MAJOR KEY or scale (in fact the song is written in E major) Instrumentation of the Song and Texture • The instrumentation I heard is: 2 guitars, 1 drumset (percussion), 1 bass line, and the voices. The song also had clapping. • The texture is HOMOPHONIC because there is only one main melody or tune that is being accompanied by all other instruments and voices. The FORM of the song • The parts I discovered were: Introduction, A-B-A’-B-C-A’’-B- A’’ ending where: A is the main verse (A’= vs2, A’’ = vs3) B is the Refrain or chorus C is the bridge Form analysis I WANT TO HOLD YOUR HAND - Verse 3 = Part A’’ The BEATLES Yeah you, got that something I think you'll understand Verse 1 = Part A When I say that something Oh yeah, I'll tell you something I wanna hold your hand I think you'll understand When I say that something Refrain= Part B I wanna hold your hand I wanna hold your hand I wanna hold your hand Refrain = Part B I wanna hold your hand (2x) Bridge = Part C And when I touch you I feel happy, inside Verse 2 = Part A’ It's such a feeling Oh, please, say
    [Show full text]
  • Excerpts: Form Chapter
    102 Chapter 6 In a strophic song, phrase contrasts are rooted in melodic contour differences. In binary form, the melodies of the two sections always are different, too. It’s a matter of degree. In binary form, the melodies are very different, involving other components of music as you found in examining “Yankee Doodle.” Binary songs usually are longer than strophic songs, necessitating a desire for change not only in melodic direction, but in other characteristics as well. The contrasts prevent monotony. It’s like life. Every so often, you need a change. The two sections of a binary song typically are of approximately equal length providing symmetry, but each section has a unique homogeneity of musical characteristics. The whole has a balance of unity and variety. So, to identify a binary song, you must listen for changes in several musical components. These differences will alert you to the start of a new section. Most binary songs contain contrasts in a combination of the following musical characteristics. Pitch: A generally high-pitched section often is balanced by a low-pitched section. Sometimes melodic direction is contrasted. That is, one section might contain mostly ascending melodic lines and the other section descending one. A change in the preponderance of steps, leaps and/or repeated tones also could constitute a contrast. Melodic rhythm: The tones in one section could be primarily long while the tones in the other section are mostly short. Even and uneven rhythms also are frequently contrasted. Tempo: One section could be fast and the other section could be slow.
    [Show full text]
  • 4. Wagner Prelude to Tristan Und Isolde (For Unit 6: Developing Musical Understanding)
    4. Wagner Prelude to Tristan und Isolde (For Unit 6: Developing Musical Understanding) Background information and performance circumstances Richard Wagner (1813-1883) was the greatest exponent of mid-nineteenth-century German romanticism. Like some other leading nineteenth-century musicians, but unlike those from previous eras, he was never a professional instrumentalist or singer, but worked as a freelance composer and conductor. A genius of over-riding force and ambition, he created a new genre of ‘music drama’ and greatly expanded the expressive possibilities of tonal composition. His works divided musical opinion, and strongly influenced several generations of composers across Europe. Career Brought up in a family with wide and somewhat Bohemian artistic connections, Wagner was discouraged by his mother from studying music, and at first was drawn more to literature – a source of inspiration he shared with many other romantic composers. It was only at the age of 15 that he began a secret study of harmony, working from a German translation of Logier’s School of Thoroughbass. [A reprint of this book is available on the Internet - http://archive.org/details/logierscomprehen00logi. The approach to basic harmony, remarkably, is very much the same as we use today.] Eventually he took private composition lessons, completing four years of study in 1832. Meanwhile his impatience with formal training and his obsessive attention to what interested him led to a succession of disasters over his education in Leipzig, successively at St Nicholas’ School, St Thomas’ School (where Bach had been cantor), and the university. At the age of 15, Wagner had written a full-length tragedy, and in 1832 he wrote the libretto to his first opera.
    [Show full text]
  • A Study of Musical Rhetoric in JS Bach's Organ Fugues
    A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people.
    [Show full text]
  • Changes in Songs from the OCP Hymnal Programs to Conform to the August 8Th 2008 Directive from the US Bishops Committee on Divine Worship Regarding the Names of God
    Changes in songs from the OCP Hymnal Programs to conform to the August 8th 2008 Directive from the US Bishops Committee on Divine Worship regarding the Names of God Note: In many of the songs, only a simple substitution of text was required. For those songs in which rhythmic or notational changes are necessary, this guide will provide easy solutions for accompaniment. And the Father Will Dance (Carey Landry) Text changes: Verse 1: Substitute “for Yahweh” with “for the Lord” in measures 9 and 10 Verse 2: Substitute “for Yahweh” with “for the Lord” in measures 7 and 8 Melody changes: Verse 1: Remove the slur from C to D on beats 3 and 4 of measure 9 Verse 2: Remove the slur from C to D on beats 3 and 4 of measure 7 Como Busca la Cierva (Xavier Gonzales Tescuano) Text changes: Verse 4: Substitute “Confía en Yavé” with “Confía en el Señor” in measures 1 and 2. Note that there is now an elision between “-a en” on the eighth note A in measure 1. Melody or accompaniment changes: None Como por las Fuentes de Agua (Perla Moré) Text changes: Verse 4: Substitute “Yahvé” with “Señor” in the first measure Melody or accompaniment changes: None El Rey de la Gloria (Aldo Blanco Dávalos) Text changes: Substitute “gloria? Es Yahvé” with “gloria? Es el Señor” in measures 12 and 13 Substitute “Yahvé” with “El Señor” in measures 16 and 17 Substitute “gloria. Yahvé” with “gloria. El Señor” in measures 20 and 21 Substitute “Yahvé” with “El Señor” in measures 26 and 27, & again in measures 30 and 31 Melody or accompaniment changes: There are only changes in measure 12.
    [Show full text]