Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
137
result(s) for
"Geck, Martin"
Sort by:
Super Cooling Point Phenotypes and Cold Resistance in Hyles euphorbiae Hawk Moths from Different Climate Zones
The spurge hawkmoth Hyles euphorbiae L. (Sphingidae) comprises a remarkable species complex with still not fully resolved taxonomy. Its extensive natural distribution range covers diverse climatic zones. This predestinates particular populations to cope with different local seasonally unfavorable environmental conditions. The ability of the pupae to overcome outer frosty conditions is well known. However, the differences between two main ecotypes (‘euphorbiae’ and ‘tithymali’) in terms of the inherent degree of frost tolerance, its corresponding survival strategy, and underlying mechanism have not been studied in detail so far. The main aim of our study was to test the phenotypic exhibition of pupae (as the relevant life cycle stadia to outlast unfavorable conditions) in response to combined effects of exogenous stimuli, such as daylight length and cooling regime. Namely, we tested the turnout of subitan (with fast development, unadapted to unfavorable conditions) or diapause (paused development, adapted to unfavorable external influences and increased resistance) pupae under different conditions, as well as their mortality, and we measured the super cooling point (SCP) of whole pupae (in vivo) and pupal hemolymph (in vitro) as phenotypic indicators of cold acclimation. Our results show higher cold sensitivity in ‘tithymali’ populations, exhibiting rather opportunistic and short-termed cold hardiness, while ‘euphorbiae’ produces a phenotype of seasonal cold-hardy diapause pupae under a combined effect of short daylight length and continuous cold treatment. Further differences include the variability in duration and mortality of diapause pupae. This suggests different pre-adaptations to seasonal environmental conditions in each ecotype and may indicate a state of incipient speciation within the H. euphorbiae complex.
Journal Article
Bach's art of church music and his Leipzig performance forces: contradictions in the system
In his memorandum of 23 August 1730 to the city council, Bach states that he, as director musices, was not satisfied with the forces at his disposal; among other reasons, he mentions that even in sacred music practice 'die Kunst iim sehr viel gestiegen' ('the state of music is quite different from what it was'), and that 'der gusto sich verwunderens-wiirdig geandert' ('the gusto has changed astonishingly'). Bach also implies that with St Thomas students and civic musicians alone, music could not be realized on the level desired.
Journal Article
Bach's Sopranos
Bach doubtless encountered adult singers singing in falsetto voice as early as his stay in Lübeck, Germany. During his first years in Cöthen, Bach worked mainly with imported singers and, in the early summer of 1722, a woman, Anna Magdalena Wilcke, who later became his wife. In Leipzig, Bach's Cöthen experience with women's and castrato voices was useless. He had only the choice of boys or adult discantists. A conservative faction of the Leipzig city council was opposed to \"theatrical\" church music and \"operatic\" falsetto singing. Another faction wanted to have modern church music with the appropriate interpreters. Bach seems to have tended variously toward one or the other direction without in the end really satisfying either side.
Journal Article
Bach's Art of Church Music and His Leipzig Performance Forces: Contradictions in the System
Historical performance issues raised by the apparent inconsistency between the limited resources at Bach's disposal during his early Leipzig years and his \"cappelmeisterly\" ambition. It is clear Bach did not have a solution; he had a number of imperfect solutions. (Quotes from original text)
Journal Article
Das wilde Denken. Ein strukturalistischer Blick auf Beethovens Op. 31,2
German musicology tends to regard sonata form not as a neutral compositional form but as an ultimate measure for progressiveness and solidity of composition. The more artistically and originally the model is applied, the more valuable the composition is estimated. Thus, Carl Dahlhaus describes the first movement of Beethoven's Piano Sonata op. 31, no. 2 as a challenging attempt to simultaneously serve and overcome the scheme by understanding it as a \"radical process of form\". The author finds Dahlhaus's thoughts unnecessarily sophisticated and narrow. If one were to view the structure of the movement according to Claude Lévi-Strauss' description and classification of myths, the form would be easier to explain. Furthermore, a dimension of content based on that particular human experience (Welterfahrung) that the structure of myths according to Lévi-Strauss alone offers, could enlighten the form. An important element in this context is the binary opposition of the opening phrases (Largo-Allegro), which correspond to the beginning of Hölderlin's hymn, Patmos. The author encourages a debate as to whether structuralistic thought according to Lévi-Strauss could offer new impulses to music analysis, impulses not strictly bound to the logic of musical forms, but to the creation of knowledge taken from analogous thought processes as seen, for instance, in the example of Robert Schumann.
Journal Article
