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O Du Mein Österreich: Patriotic Music and Multinational Identity in The
O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 ABSTRACT O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 Copyright by Jason Stephen Heilman 2009 Abstract As a multinational state with a population that spoke eleven different languages, the Austro-Hungarian Empire was considered an anachronism during the age of heightened nationalism leading up to the First World War. This situation has made the search for a single Austro-Hungarian identity so difficult that many historians have declared it impossible. Yet the Dual Monarchy possessed one potentially unifying cultural aspect that has long been critically neglected: the extensive repertoire of marches and patriotic music performed by the military bands of the Imperial and Royal Austro- Hungarian Army. This Militärmusik actively blended idioms representing the various nationalist musics from around the empire in an attempt to reflect and even celebrate its multinational makeup. -
Magnetism Division Fachverband Magnetismus (MA) Overview Of
Regensburg 2019 – MA Overview Magnetism Division Fachverband Magnetismus (MA) Manfred Fiebig Andy Thomas Department of Materials, ETH Zurich Leibniz Institute for Vladimir-Prelog-Weg 4 Solid State and Materials Research Dresden 8093 Zurich, Switzerland Helmholtzstraße 20 manfred.fi[email protected] 01069 Dresden [email protected] Overview of Invited Talks and Sessions (Lecture halls H33, H37, H38, H39, H48, H52, and H53; Poster C and E) Invited Talks MA 3.1 Mon 9:30–10:00 H38 Three-dimensional solitons in magnetism, nuclei and particle physics — ∙Paul Sutcliffe MA 3.2 Mon 10:00–10:30 H38 Simulations of particlelike states in three-dimensional magnets: chiral skyrmions, bobbers and hopfions — ∙Filipp N. Rybakov MA 3.4 Mon 10:45–11:15 H38 Quantitative measurements of three dimensional magnetic textures us- ing off-axis electron holography — ∙András Kovács, Nikolai Kiselev, Jan Caron, Thibaud Denneulin, Fengshan Zheng, Dongsheng Song, Stefan Blügel, Rafal E Dunin-Borkowski MA 3.5 Mon 11:30–12:00 H38 Three-dimensional nanomagnetism: Present and future — ∙Amalio Fernandez-Pacheco MA 3.7 Mon 12:15–12:45 H38 Revealing magnetic configurations with X-ray magnetic nanotomogra- phy — ∙Valerio Scagnoli MA 7.1 Mon 15:00–15:30 H37 The Surface Spin Flop in Synthetic Antiferromagnets with Perpendic- ular Magnetic Anisotropy — ∙Benny Böhm, Nikolai Kiselev, Darius Pohl, Lorenzo Fallarino, Leopold Koch, Bernd Rellinghaus, Kor- nelius Nielsch, Olav Hellwig MA 11.1 Mon 15:45–16:15 H38 Microstructure optimization for rare-earth efficient permanent magnets -
Gustav Mahler's Third Symphony
Gustav Mahler’s Third Symphony: Program, Reception, and Evocations of the Popular by Timothy David Freeze A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology) in The University of Michigan 2010 Doctoral Committee: Associate Professor Steven M. Whiting, Co-Chair Professor Albrecht Riethmüller, Freie Universität Berlin, Co-Chair Professor Roland J. Wiley Professor Michael D. Bonner Associate Professor Mark A. Clague © 2010 Timothy David Freeze All rights reserved To Grit ii ACKNOWLEDGMENTS The road leading to the completion of this dissertation was longer and more scenic than I ever intended it to be. It is a great pleasure to acknowledge here the many individuals and organizations that provided support and encouragement along the way. I am especially grateful to the co-chairs of my committee. Without the unflagging support of Steven M. Whiting, whose sage counsel on matters musical and practical guided me from start to finish, this project would not have been possible. I am equally indebted to Albrecht Riethmüller, whose insight and intellectual example were a beacon by whose light this dissertation took shape. I would also like to thank R. John Wiley, whose extensive and penetrating feedback improved the dissertation and my own thinking in countless ways, and Mark Clague and Michael Bonner, both of whom provided valuable comments on content and style. In Ann Arbor, I would like to acknowledge the support of the entire musicology faculty at the University of Michigan. Louise K. Stein gave helpful advice in the early stages of this project. In Berlin, I benefited from conversations with Federico Celestini, Sherri Jones, and Peter Moormann. -
Muzikološki Z B O R N I K L I
MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL L I / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 5 MZ_2015_1_FINAL.indd 1 13.5.2015 12:44:22 Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Glavni in odgovorni urednik • Editor-in-chief Jernej Weiss (Ljubljana) Asistentka uredništva • Assistant Editor Tjaša Ribizel (Ljubljana) Uredniški odbor • Editorial Board Matjaž Barbo (Ljubljana) Aleš Nagode (Ljubljana) Svanibor Pettan (Ljubljana) Leon Stefanija (Ljubljana) Andrej Rijavec (Ljubljana), častni urednik • honorary editor Mednarodni uredniški svet • International Advisory Board Michael Beckermann (Columbia University, USA) Nikša Gligo (University of Zagreb, Croatia) Robert S. Hatten (Indiana University, USA) David Hiley (University of Regensburg, Germany) Thomas Hochradner (Mozarteum Salzburg, Austria) Bruno Nettl (University of Illinois, USA) Helmut Loos (University of Leipzig, Germany) Jim Samson (Royal Holloway University of London, UK) Lubomír Spurný (Masaryk University Brno, Czech Republic) Katarina Tomašević (Serbian Academy of Sciences and Arts, Serbia) John Tyrrell (Cardiff University, UK) Michael Walter (University of Graz, Austria) Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://revije.ff.uni-lj.si/MuzikoloskiZbornik Prevajanje • Translations Urban Šrimpf Cena posamezne številke • Single issue price 10 EUR Letna naročnina • Annual subscription 20 EUR Založila • Published by Znanstvena založba Filozofske fakultete Univerze v Ljubljani Za založbo • For the publisher Branka Kalenić Ramšak, dekanja Filozofske fakultete Tisk • Printed by Birografika Bori d.o.o., Ljubljana Naklada 300 izvodov • Printed in 300 copies Rokopise, publikacije za recenzije, korespondenco in naročila pošljite na naslov izdajatelja. Prispevki naj bodo opremljeni s kratkim povzetkom (200–300 besed), izvlečkom (do 50 besed), ključnimi besedami in kratkimi podatki o avtorju. -
Part One: Bagpipes in the Blata Region of Bohemia
Introduction The Czech Republic lies in what is called “The Heart of Europe.” Roughly the western half of the country – Bohemia – has played a significant role in the history of Europe politically, socially, and musically. The 18th-century English traveler and observer, Charles Burney, wrote that he, “had frequently been told, that Bohemians were the most musical people of Germany,1 or, perhaps, of all Europe.”2 In the southern region of Bohemia is an area called Blata. It is named for the marshlands that once existed there. Today, the term also identifies a region where distinctive folk traditions in architecture, costumes, dance, and music still exist to some degree. In Blata, bagpipes have a venerable history, based on evidence from extant bagpipes, publications, and the living tradition. In this thesis, the Blata region will be described; a brief history of bagpipes and their use in Bohemia will be presented; the historic role of bagpipers in society in Blata and the transfer of these roles to rural 19th-century Nebraska and Minnesota will be described; the historical instruments either found in the Blata region or thought to have originated there will be described; a short synopsis of some Blata folklore groups utilizing bagpipe will be given; and, the creation of a replica bagpipe will be documented. In this study, the map of Blata (p. 9) by the cartographer, Karel Zpvák, defines the geographic limits. It is also necessary, however, to include material from outside of the region, especially in regard to the historical setting of bagpipes in Bohemia as a whole and in the examination of mouth-blown bagpipes thought to have originated in Blata.