"Belonging” in the gentrified Golden Horn/Halic neighbourhoods of Istanbul

Mainstream gentrification research predominantly examines experiences and motivations of the middle-class gentrifier groups, while overlooking experiences of non-gentrifying groups including the impact of in situ local processes on gentrification itself. In this paper, I discuss gentrification, neighbourhood belonging and spatial distribution of class in Istanbul by examining patterns of belonging both of gentrifiers and non-gentrifying groups in historic neighbourhoods of the Golden Horn/Halic. I use multiple correspondence analysis (MCA), a methodology rarely used in gentrification research, to explore social and symbolic borders between these two groups. I show how gentrification leads to spatial clustering by creating exclusionary practices and eroding social cohesion, and illuminate divisions that are inscribed into the physical space of the neighbourhood.

Facies model for a coarse-grained, tide-influenced delta : Gule Horn Formation (Early Jurassic), Jameson Land, Greenland

Acknowledgements: Funding for this project was provided from the Research Council of Norway through the Petromaks project 193059 and the FORCE Safari Project. Arild Andresen (University of Oslo) and Aka Lynge (POLOG) are thanked for logistical support, Björn Nyberg (Uni Research CIPR and University of Bergen) for assistance in the field, Arve Næss (Statoil) for providing data and assistance during the planning phase, Julien Vallet and Huges Fournier (Helimap Systems SA) for data acquisition. Riegl LMS GmbH is acknowledged for software support. We thank Brian Willis and an anonymous reviewer for their insightful and thorough reviews and Mariano Marzo for editorial comments.

Facies model for a coarse-grained, tide-influenced delta : Gule Horn Formation (Early Jurassic), Jameson Land, Greenland

Acknowledgements: Funding for this project was provided from the Research Council of Norway through the Petromaks project 193059 and the FORCE Safari Project. Arild Andresen (University of Oslo) and Aka Lynge (POLOG) are thanked for logistical support, Björn Nyberg (Uni Research CIPR and University of Bergen) for assistance in the field, Arve Næss (Statoil) for providing data and assistance during the planning phase, Julien Vallet and Huges Fournier (Helimap Systems SA) for data acquisition. Riegl LMS GmbH is acknowledged for software support. We thank Brian Willis and an anonymous reviewer for their insightful and thorough reviews and Mariano Marzo for editorial comments.

12 Quartetten für Horn

par J. G. Abeltshauser

Klaus-Peter Horn / Heidemarie Kemnitz / Winfried Marotzki / Uwe Sandfuchs (Hrsg.): Klinkhardt Lexikon Erziehungswissenschaft, 3 Bände im Schuber, Bad Heilbrunn: Klinkhardt 2011 [Rezension]

Rezension von: Klaus-Peter Horn / Heidemarie Kemnitz / Winfried Marotzki / Uwe Sandfuchs (Hrsg.): Klinkhardt Lexikon Erziehungswissenschaft, 3 Bände im Schuber, Bad Heilbrunn: Klinkhardt 2011 (1.509 S.; ISBN 978-3-8252-8468-8; 99,00 EUR)

Modern Horn Playing in Beethoven: An Exploration of Period Appropriate Techniques for the Orchestral Music of Beethoven for the Modern Horn Player

Thesis (D.M.A.)--University of Washington, 2016-06

Formless being for flute, clarinet, bassoon, french horn, percussion, piano and string quartet

Thesis (D.M.A.)--University of Washington, 2016-06

A Game of Horns: Transnational Flows of Rhino Horn

A multi-sectorial regime of protection including international treaties, conservation and security measures, demand reduction campaigns and quasi-military interventions has been established to protect rhinos. Despite these efforts, the poaching of rhinos and trafficking of rhino horn continue unabated. This dissertation asks why the illegal market in rhinoceros horn is so resilient in spite of the myriad measures employed to disrupt it. A theoretical approach grounded in the sociology of markets is applied to explain the structure and functioning of the illegal market. The project follows flows of rhino horn from the source in southern Africa to illegal markets in Southeast Asia. The multi-sited ethnography included participant observations, interviews and focus groups with 416 informants during fourteen months of fieldwork. The sample comprised of, amongst others, convicted and active rhino poachers, smugglers and kingpins, private rhino breeders and hunting outfitters, African and Asian law enforcement officials, as well as affected local communities and Asian consumers. Court files, CITES trade data, archival materials, newspaper reports and social media posts were also analysed to supplement findings and to verify and triangulate data from interviews, focus groups and observations. Central to the analysis is the concept of “contested illegality”, a legitimization mechanism employed by market participants along the different segments of the horn supply chain. These actors' implicit or explicit contestation of the state-sponsored label of illegality serves as a legitimising and enabling mechanism, facilitating participation in gray or illegal markets for rhino horn. The research identified fluid interfaces between legal, illegal and gray markets, with recurring actors who have access to transnational trade structures, and who also possess market and product knowledge, as well as information about the regulatory regime and its loopholes. It is against the background of colonial, apartheid and neoliberal exploitation and marginalization of local communities that a second argument is introduced: the path dependency of conservation paradigms. Underpinning rhino conservation and regulation are archaic and elitist conservation regimes that discount the potential for harmonious relationships between local communities and wildlife. The increasing militarization of anti-poaching measures and green land grabs are exacerbating the rhino problem by alienating communities further from conservation areas and wild animals. The third argument looks at how actors deal with coordination problems in transnational illegal markets. Resolving the coordination problems of cooperation, value and competition are considered essential to the operation of formal markets. It is argued that the problem of security provides an additional and crucial obstacle to actors transacting in markets. The systematic analysis of flows between the researched sites of production, distribution and consumption of rhino horn shows that the social embeddedness of actors facilitates the flourishing of illegal markets in ways that escape an effective enforcement of CITES regulations.

Der Schichtaufbau des tieferen Lias am Egge-Osthang zwischen Horn und Langeland

Am Osthang des Eggegebirges zwischen Horn-Bad-Meinberg und Langeland ist der Lias vom Hettangium bis zum Sinemurium in meist lückenhaften Aufschlüssen erhalten. Aus den Teilprofilen wurde in dieser Arbeit ein Normalprofil zusammengestellt. Die Liasschichten sind ihrer beckenrandnahen Lage entsprechend kalkig, mergelig und tonig mit unterschiedlich hohen Anteilen von terrigenem Detritus ausgebildet. Aufgrund lithologischer Unterschiede wurden verschiedene Gesteinstypen klassifiziert und beschrieben und das Normalprofil in fünf petrographische Abschnitte unterteilt. Die orthostratigraphische Einstufung erfolgte mit Ammoniten.

Selected Violin Concertos: In Search of a Missing Link

My dissertation presented seven violin concertos in three recital programs. Three of these concertos are acknowledged masterpieces performed in established concert venues throughout the world. They are the concertos of Mozart, Beethoven and Tchaikovsky. The other four are less standard and are composed by Viotti, Kreutzer, Rode and Spohr. These less standard concertos were popular during their time yet they seem not to have stood the test of time. A curriculum devoted exclusively to the standard concertos creates problems for the young violinist. The Mozart violin concertos are often the first standard concertos that the young violin student encounters. They are considered to be the least technically demanding of the standard concertos. The next most advanced standard concertos that the student will usually encounter are Bruch’s G minor concerto, Wieniawski’s D minor concerto and Barber’s concerto. The trouble is that the work on Mozart concertos does not adequately prepare a student for the next most advanced standard concerto. There is a discontinuous leap in the progression of technical difficulty between the Mozart concertos and the next most advanced concertos. Likewise the standard concerto repertoire provides no smooth historical or stylistic progression between the Mozart concertos and the next most advanced concertos. If the young violinist is limited to the standard repertoire then she has no smooth progression either technical, historical or stylistic. I seek to demonstrate that, by adding concertos of Spohr, Viotti, Kreutzer, and Rode to the standard violin curriculum, one could remedy this problem. The first and third recitals were performed in the Gildenhorn Recital Hall and the second recital in the School of Music’s Smith Lecture Hall, both at the University of Maryland. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire

For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.