Uma análise das fugas para piano de Bruno Kiefer : uma busca por padrões estilísticos na sua escrita contrapontística

Este trabalho oferece um estudo dos padrões estilísticos definidos através da análise dos processos contrapontísticos encontrados no terceiro movimento da Sonata nº I, Fuga e Toccata e do movimento final de Duas peças Sérias da obra para piano de Bruno Kiefer. A fuga, uma das técnicas de composição linear mais estabelecidas na escrita musical, reflete as transformações estilísticas na música ocidental. Considerando a diversidade de possibilidades estéticas na música do século XX, faz-se mister investigar como Kiefer tratou uma técnica composicional consagrada, preservando de modo singular e consistente o estilo inovador atribuído às suas obras. O referencial teórico adotado para este estudo é Twentieth Century Fugue – A Handbook (1962) de William Graves, Jr.. A partir da análise dos padrões recorrentes nas fugas de Bruno Kiefer, verificou-se o distanciamento entre os parâmetros da fuga tradicional e o estilo da escrita contrapontística do compositor.

Seis Pequenos Quadros (1981) de Bruno Kiefer : relações intervalares e outros parâmetros a partir da teoria dos conjuntos e gestos musicais

Este trabalho oferece um estudo das configurações intervalares contidas no grupo de peças para piano intitulado Seis Pequenos Quadros (1981) de Bruno Kiefer (1923- 1987). A análise toma como referencial teórico a obra Introduction to Post-Tonal Theory de Joseph Straus, a qual elucida a teoria dos conjuntos. Objetivou-se encontrar padrões que fornecem coerência ao discurso das peças isoladamente e como um todo. Para tanto, além da análise de conjuntos, fez-se necessário o levantamento de características estruturais, temporais e de textura. Todos estes parâmetros, os quais contribuem para um equilíbrio entre unidade e diversidade no discurso desta coleção de peças, foram investigados a partir dos gestos musicais característicos do estilo de Kiefer.

A relação entre Música e Poesia nas canções para Voz Aguda e Piano de Bruno Kiefer

Pós-graduação em Música - IA

Hannover im preußischen Etat : ein Beitrag zu der Frage "Zuschuß"- oder "Überschuß"-Provinz

von Bruno Jacob

Germanismo e nazismo na colônia alemã de Presidente Venceslau (1923-1945)

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Deceit and Bruno Taut's Glashaus

The historical context surrounding Bruno Taut's Glashaus has been established through work of authors like Reyner Banham, Dennis Sharp and Ian Boyd-Whyte. However, these English language translations, are mostly derived from secondary sources such as Adolf Behne and Paul Scheerbart. Surprisingly, Taut's own writings largely do not feature in this prevailing account of his work. Since 1990, strong doubts have arisen about this conventional picture of Taut's Glashaus. Manfred spiedel, for instance, minimizes Paul Scheerbart's contribution to the design by arguing that Scheerbart met Taut only a few months before the construction of the Glashaus, that is, after Taut had finished his preliminary sketches. Kurt Junghanns goes further and asserts that the Glashaus design was complete beefore Taut and Scheerbart ever met. In 2005, Kai Gutschow published The Culture of Criticism: Adolf Behne and the Development of Modern Architecture in Germany, 1910 - 1914. Most startling, Gutschow asserts that Behne acts as the propagandist for the Glashaus by fabricating its link with Expressionism. This is particularly troubling because nobody contributed more to establishing the link between the Glashaus, Bruno Taut and Expressionism than Behne. As a result of this new evidence, this paper concurs that the established historical understanding of the Glashaus is flawed. By returning to Taut's own writings, a reinterpretation can be offered that strongly links the Glashaus to the Victoria regia lily and Strasbourg Cathedral. The significance of this approach is that it re-establishes Taut's own rational behind the design of the Glashaus, and thus contributes to the re-evaluation of the generally accepted histories of the Modern movement.

Natures muses in Bruno Tuat’s Glashaus

Constructed for the 1914 Werkbund Exhibition in Cologne, Germany, the Glashaus was both a seminal example of early modernist architecture and Bruno Taut’s signature building. Over time, metaphors have come to be applied to the Glashaus. Within the realm of nature these metaphors include cosmic, geological, botanic and sexual. However these metaphors, like the history of the Glashaus, are not a foregone conclusion. Recently it has been argued that the majority of our current knowledge regarding the Glashaus derives not from the perspective of Bruno Taut as the architect, but rather directly from perspective of the art critic Adolf Behne. This argument goes further and proposes that Behne’s official history of Glashaus is possibly fabricated propaganda. So, if indeed the official history of the Glashaus is questionable, then too are the natural metaphors commonly applied to the building. By revisiting Bruno Taut’s pre-1915 writings, this investigation reveals that botanic metaphors appear to have been Taut’s primary source of inspiration for the design of the Glashaus. Through the exposure of this fact, this research contributes significantly to the current debates surrounding Bruno Taut, the Glashaus and the re-evaluation of the official histories of the modern movement.

Client intentions and Bruno Taut’s Glashaus

An often overlooked aspect concerning the Glashaus is the significant influence exerted by the client in the design of the building. In an intentional endeavour to create an exhibition pavilion that best showcased their glazed products and construction technologies, the German Luxfer Prism Syndicate both commissioned and majority financed the Glashaus. It would therefore seem strange that the official histories of the Glashaus would rather record the utopian, romanticised and arguably imagined intentions of Bruno Taut as the architect, as opposed to the reality of the client’s intentions. This paper offers a reinterpretation of the Glashaus from the perspective of German Luxfer Prism Syndicate. This reinterpretation is achieved through an investigation that primarily concentrates on the glazed areas of the Glashaus where the German Luxfer Prism Syndicates products were most evident. Using the arguments initially presented by Dietrich Neumann as a foundation, this research is additionally interwoven with inquiry into diverse aspects such as patents filed by the Luxfer group of companies and a close examination of the original black and white photographs of the Glashaus. A dramatically different understanding emerges when the Glashaus is argued from the perspective of the client; an understanding that is cold, hard and commercial as opposed to utopian and romanticised. As a result, this research makes a contribution to the current debate concerning the Glashaus and the re-evaluation of the histories of the modern movement.

The lily, client and measure of Bruno Taut’s Glashaus

The Glashaus is considered a significant exemplar of early modernist architecture and is generally accepted as having had Expressionist origins. However, current research has revealed that the design origins of this important building are not fully understood. While the historical record acknowledges the contributions of the bohemian poet Paul Scheerbart and the art critic Adolf Behne, the role of the Glashaus’ architect, Bruno Taut, has been moderated. In an attempt to rectify this situation this article proposes that the design origins of the Glashaus can be found in a strong architect-client interaction. It is argued that the Glashaus’ client, the Deutsche Luxfer Prismen Syndikat under the directorship of Frederick Keppler, exerted a significant influence on its design. In order to showcase the glazed products of Luxfer in the best manner possible, Keppler insisted that the design feature a glazed dome, electric lighting, a fountain as well as a cascade. Given the detailed stipulations of this brief, Taut had few options other than to offer interpretations of precedent that derived from the Victoria regia lily and Gothic proportioning. By expounding this architect-client relationship, this article expands our understanding of the Glashaus, and reinvigorates our understanding of this important early example of modern architecture.

The importance of the Deutsche Luxfer Prismen Syndikat, the Victoria regia lily and Gothic imitation in the design of Bruno Taut's Glashaus

Bruno Taut's Glashaus is considered a seminal example of early modernist architecture. Yet, some of the crucial factors behind the design of the Glashaus remain little understood. This PhD reveals that the Glashaus' patron, Frederick Keppler, exerted a significant influence over its design by insisting that it follow a prescriptive brief. Interpreting these rigid instructions, Taut as the architect, gained inspiration from the myths and symbols associated with the Victoria regia lily and the Gothic. This PhD therefore significantly expands the understanding of the Glashaus, and thus reinvigorates our comprehension of one of the most distinctive early examples of modern architecture.

Bruno Taut’s design inspiration for the Glashaus

As a formative exemplar of early architectural modernism, Bruno Taut’s seminal exhibition pavilion the Glashaus (literally translated Glasshouse) is logically part of the important debate of rethinking the origins of modernism. However, the historical record of Bruno Taut’s Glashaus has been primarily established by one art historian and critic. As a result the historical record of the Glashaus is significantly skewed toward a singlular notion of Expressionism and surprisingly excludes Taut’s diverse motives for the design of the building. In an effort to clarify the problematic historical record of the Glashaus, this book exposes Bruno Taut’s motives and inspirations for its design. The result is that Taut’s motives can be found in yet unacknowledged precedents like the botanical inspiration of the Victoria regia lily; the commercial interests of Frederick Keppler as the Director of the Deutche Luxfer Prismen Syndikat; and imitation that derived openly from the Gothic. The outcome is a substantial contribution to the re-evaluation of the generally accepted histories of the modern movement in architecture.

Lumometsän syli : Anni Swanin satusymbolismi 1896-1923

Lumometsän syli, Anni Swanin satusymbolismi 1896-1923 on suomenkielisen satukirjallisuuden poetiikkaa ja 1900-luvun alun modernia naiseutta selvittävä feministiseen tutkimustraditioon liittyvä tutkimus. Sen kohteena ovat lasten- ja nuortenkirjailija Anni Swanin (1875-1958) satukokoelmat vuosilta 1901-1923 ja Uusi Suometar -lehden sadunomaiset novellit vuosilta 1896-1904. Tutkimus tuo uutta tietoa lastenkirjallisuuden osalta 1900-luvun alun modernin ihmisen problematiikasta. Se sisältää naissubjektin kehityskaaren ja sisäisen kasvun kohti naistaiteilijuutta. Yksityiskohtaisen tarkastelun kohteina ovat sadut Veli ja sisar (1917), Ihmekukka (1905), Marjaanan helmikruunu (1912), Aaltojen salaisuus (1901), Jääkukka (1905), Tyttö ja kuolema (1917), Merenkuningatar ja hänen poikansa (1905), Lumolinna (1905) ja Tarina Kultasirkasta (1901). Tutkimuksessa tarkastellaan Swanin satujen poeettista kieltä ja naiseuden tematiikkaa ranskalaisen postmodernin ajan feministisen viitekehyksen valossa. Siinä keskeisiä ovat Julia Kristevan psykoanalyyttispohjaiset näkemykset ja Hélène Cixous´n sekä Luce Irigarayn ajatukset feminiinisestä kirjoituksesta. Sadut kontekstualisoidaan ajankohdan symbolistiseen taidevirtaukseen ja Suomen taiteen kultakauteen. Satuja tulkitaan naiskirjailijan lajina ja erityisenä naisen metaforisen ilmaisun muotona. Satujen feministinen lukutapa purkaa perinteisiä lukemiskonventioita ja merkitsee satutekstin lukemista "toisin". Se avaa varhaista modernia naiseutta ja sille ominaista naisen ilmaisukielen erityisyyttä sekä mykkää ei-kielellistä, melankolian ilmaisua. Tutkimus tuo esiin uudenlaisen naiskirjailijan aistimusvoimaisen kielen. Swanin satusymbolismi on luonnon kauneuden synesteettista ja aistimusvoimaista kerrontaa, jolle on luonteenomaista aistiestetiikka, metaforisuus, metonymisyys ja metamorfoosit. Swan vahvistaa osaltaan naisen sankaruutta, omaa ilmaisukieltä ja ääntä. Tuloksena paljastuu satuperinteeseen verrattuna uudenlaisia tyttöyden, äitiyden, naistaiteilijuuden ja perheen malleja ja niiden representaatioita. Satumallit osoittautuvat aikanaan moderneiksi tyttösankareiksi, osin ambivalenteiksi uudenlaista naiseutta ja suhteessa oloa heijastaviksi ja ovat siten varhaisia feministisen sadun tunnusmerkkejä. Tutkimus selvittää, miten Swan rakentaa omaperäisen satusymboliikan. Satumetsä on luonnonkauniin suomalaismetsän symbolinen mielenmaisema ja samanaikaisesti sadun myyttis-symbolinen topos. Swanin luontokäsitys sisältää luonnonsuojelun ja varhaisen ekokriittisen näkemyksen. Tutkimus osoittaa Swanin satujen kytkeytyvän 1900-luvun alun modernismiin ja Suomen taiteen kultakauteen. Swan on suomenkielisen symbolistisen taidesadun kehittäjä ja feministisen sadun aloittaja.

Kisch family portrait; Alexander, Mizzi, Charlotte, Guido and Bruno (l-r); Prague.

Digital Image