A Beginning

Cappleman, Owen und Michael Jack Jordan: Foundations in Architecture. An Annotated Anthology of Beginning Design Projects. New York: Van Nostrand Reinhold, 1993. ISBN: 0442007647
Sehr gutes Ex. - Foundations in Architecture - An Annotated Anthology of Beginning Design Projects - Annex 1-Project and Program Details - Complete, detailed information on each project summarized in Section 2, "An Annotated Anthology of Beginning Design Projects" - Annex 2-Biographies - Brief notes on the professional and personal lives of the book's contributors. - Annex 3-Systematics - A Taxonomy of Educational Design Objectives. - Annex 4-"Fencing or Soccer" - A closing essay by David Yeomans. - Matrices - A cross reference of all projects under each of the five taxons from Annex 3, "Systematics". - Perception and measured drawings; Travel; Objectives; Synthesis. - This innovative volume enables educators and beginning design students to tap into a wide range of design ideas. It compiles key design problems presented to beginning architecture students in the U.S. and other parts of the world, then illustrates possible solutions. Each pedagogical approach and technique included was carefully screened for merit and relevance. Featuring contributions from numerous distinguished authorities, the book presents each problem twice-in synopsis form and in expanded detail. This breakdown makes it easy to locate a project of interest, then move directly to a full examination. Many of the projects are ready to use as is in the classroom-or as personal inspiration-and the text proceeds from broad to specific to expedite the learning process. Two-page synopses of each project incorporate revealing illustrations and marginal annotations, complete with editorial comments and ideas. Foundations in Architecture will help users to: / Revitalize work currently being done in the classroom / Inject new excitement into a course that has become stale / Create a "bridge" of communication between beginning design and advanced design studio teachers and students / Enhance studio and classroom effectiveness / Provide the architecture profession with a "pulse-taking" of what is going on in academia / Reduce the shock of beginning students when they discover that the study of architecture differs vastly from expectations Especially useful is the section on the systematics approach to project typologies and its application in the achievement of design objectives. Detailed portions of the book cover uses of computers and advanced technology in design, building design in foundation studios, and the employment of literature and fine arts as design source material. Other features include a brief history of design education in Europe and America, a taxonomy of design objectives applied to each project, and brief biographies of each project author. A quizzical essay by David Yeomans offers a provocative finale to the text. Foundations in Architecture offers a veritable transfusion of ideas to energize any design course. It belongs on the bookshelf of every design teacher and student. ISBN 0442007647 - , ISBN-13: 9780442007645

Qu.-8°. XVII; 205 S. mit zahlr. Abb. Broschiert.

[SW: Design Projects]

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Holst, Gustav: A Fugal Overture für Orchester op. 40 /1, (1922)

Gustav Holst (geb. Cheltenham, 21. September 1874 - gest. London, 25. Mai 1934) A Fugal Overture für Orchester op. 40 /1, (1922) Uraufführung 14. Mai 1923 im Convent Garden als Ouvertüre zur Oper The Perfect Fool benutzt Es ist unmöglich, über A Fugal Overture zu sprechen, ohne einen kurzen Seitenblick auf die Frau zu werfen, der das Werk gewidmet ist. Die Partitur ist "To J.M.J." überschrieben. Damit ist Jane M. Joseph (1894-1929) gemeint, die Schülerin und Schützling von Holst war. Holst nannte sie "die beste Schülerin, die ich je hatte". Ab 1916 vertraute er ihr, wenn er an Neuritis litt, verschiedene Aufgaben an. Sie bereitete Chorpartituren vor, beriet ihn in Übersetzungen aus dem Griechischen, und unterrichtete für ihn, wenn er krank war. Außerdem half sie bei der Erstellung von Holst's Chor-Balletten und schrieb mindestens ein Libretto für ihn. Holst war erschüttert über ihren frühen Tod an Nierenversagen. Dieses ausgelassene Fünf-Minuten-Werk ist durch ein konstantes Tempo im 4/4-Takt mit gleichmäßiger Verschiebung von Achtelnotengruppen in jedem Takt gekennzeichnet. Die dreitaktige Eröffnung stellt die Schlittenglöckchen heraus, die als vereinigender Faktor der verschiedenen Achtelnotengruppen dienen. Das Fugenthema wird von den Celli und Bässen ab Takt vier vorgestellt. Es führt den Rhythmus der Eröffnung fort, nun allerdings im Staccato. Das Thema geht, wie die Eröffnung, über drei Takte und wird von den Violen beantwortet, beginnend auf der tiefen C-Saite. Statt das Fugenthema ein weiteres Mal einzuführen, verzögert dessen Widerkehr um zwei Takte. Unterdessen beginnen die Celli, dann die Bässe und schließlich die Fagotti mit dem Gegenthema, das entfaltet wird. Die Celli präsentieren das Thema zum dritten Mal, verschieben jedoch den Einsatz um zwei Takte. Die Antwort (auf C beginnend) ist in den zweiten Violinen zu hören, nun auf dem dritten Schlag des Taktes.Bei Probenziffer 2 setzen die ersten Violinen mit dem Thema (beginnend auf F) auf dem ersten Schlag ein. Holst entwickelt das Thema dieses Mal, indem er Pizzicato in den übrigen Streichern notiert. Mit Beginn von Probenziffer 3 kehrt die eröffnende rhythmische Achtel-Figur zurück und wird entwickelt. Bis zu Probenziffer 4 gibt es nur Teile, Fragmente, Melodiescherben, einander unterbrechend, als ob um die Vorherrschaft wetteifernd. Bei Probenziffer 4 taucht das vollständige Thema forte in den Posaunen auf, und dieses Thema dominiert den Rest des Werkes. Es wird von verschiedenen Instrumenten und Gruppen gespielt; nun ist es eine einprägsame Melodie und erscheint danach in der ursprünglichen Form. Bei Probenziffer 5 gibt es einen plötzlichen Stillstand, gefolgt von einem Pianissimo-Übergang, der in den tiefen Streichern mit einem Pizzicato beginnt. Dies führt zum Mittelteil des Stückes, der mit Meno mosso überschrieben ist. Er ist nur 6 ½ Takte lang und für vier Solo-Streicher notiert. Er dient als Unterbrechung des Ablaufs, in dem nichts passiert; aber unmittelbar ab Probenziffer 7 beginnt der Prozess erneut, anfangend in den Kontrabässen; zu dieser Zeit erscheint das vollständige Thema im Piccolo, nur 8 Takte bis zur "Wiederholung". In fröhlicher Manier wird das Thema im Orchester hin - hergewendet und verbleibt, mit Ausnahme einiger lauter und schriller Ges-Dur-Einwürfe der Blechbläser, in C-Dur. Wie auch immer: C-Dur lehnt es ab, verdrängt zu werden und hat letztlich das Sagen. Die Ouvertüre endet mit einem kraftvollen C-Dur-Ausbruch auf dem Offbeat. Das Werk ist nicht streng fugiert, basiert jedoch auf thematischen und rhythmischen Motiven, die in einer fugierten oder quasi-fugierten Weise behandelt werden. Das deutlichste Merkmal ist das konstante Achtel-Noten-Empfinden, über dem ein eindrucksvoller, mannigfaltiger Rhythmus, die Achtel-Noten enthaltend, den Effekt eines fein verarbeiteten Rhythmus-Puzzles in C-Dur schafft. Anke Westermann, 2010 In Fragen des Aufführungsmaterials wenden Sie sich bitte an Novellos, London. Nachdruck eines Exemplars aus der Sammlung Phillip Brookes, Market Drayton. top of page Gustav Holst (b. Cheltenham, 21 September 1874 - d. London, 25 May 1934) A Fugal Overture for Orchestra Opus 40 #1; 1922 First performance May 14, 1923. It was used as an overture to the opera The Perfect Fool at Covent Garden. Preface It is impossible to discuss A Fugal Overture without a brief note about the woman to whom it is dedicated. The score is inscribed "To J.M.J." This refers to Jane M. Joseph (1894-1929) who was a pupil and protege of Holst. Holst stated that she was "the best girl pupil I ever had." Holst relied on her in several capacities, from about 1916 onward, whenever he suffered from neuritis. She prepared vocal scores, advised him on translations from Greek, and when he was ill she taught for him. In addition, she helped with the production of Holst's choral ballets and wrote at least one libretto for him. Holst was devastated by her early death from kidney failure. This exuberant five-minute work is characterized by a consistent tempo written in 4/4 meter with constant and simultaneous displacement of eighth note groups within each measure. The three-measure opening features sleigh bells, which serves as a unifying factor over the various eighth note groups. The fugal theme is presented by the cellos and basses beginning in measure four. This fugal subject continues with the opening rhythm but there is now a staccato tune. The subject, like the opening, continues for three measures and is answered by the violas beginning on the low C string. Rather than having another entrance of the fugal subject, Holst delays the return of the subject by two beats. Meanwhile, the cellos and then basses, and then bassoons begin a countersubject that will be expanded. It is the cellos that present the subject for a third time, but delay the entrance by two beats. The answer (beginning on C) is heard in the second violins, now on the third beat of the measure. At rehearsal figure 2 the first violins enter with the subject (beginning on F) on the first beat. Holst begins to develop the theme at this time by the use of pizzicato in the other string instruments. Beginning at rehearsal number 3 there is a return and development of the opening eighth-note rhythmic figure. Up to rehearsal 4 we have only parts, fragments, even shards of melodies and tunes, all interrupting one another as if vying for supremacy. At rehearsal figure 4 a full-fledged theme finally emerges forte in the trombones and this theme dominates the rest of the work. It is played by different instruments and sections but is now a memorable, "catchy" tune and appears in its basically complete form after this. At rehearsal figure 5 there is a sudden cessation followed by a pianissimo transition which begins pizzicato in the lowest strings . This leads to the middle section of the piece that is marked meno mosso. It is only six and a half measures long, and is scored for four solo strings. This serves as an interruption of the action, where nothing actually happens but immediately at rehearsal 7 the process starts over again, beginning with the string basses. This time the full-fledged theme appears in the piccolo only eight measures into this "recapitulation". The theme is tossed back and forth around the orchestra in lighthearted fashion and remains in the key of C except for several loud and jarring intrusions of G flat major by the brass. However, C major refuses to be displaced and has the final say. The overture ends with a vigorous C major outburst on an offbeat. The work is not strictly fugal, but is based upon thematic and rhythmic motifs that are treated in a fugal or quasi-fugal fashion. Its most distinctive characteristic is the constant eighth note feeling, on top of which is superimposed various rhythms comprised of these eighth notes, creating the effect of a finely-wrought rhythmic puzzle, all in the key of C. M.J. Sunny Zank, Professor of Music, Ohio Northern University, 2010

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Bearbeitet von Osler, Douglas J: Bibliographica Iuridica / Catalogue of books printed in Spain, Portugal and the Southern and Northern Netherlands from the beginning of printing to 1800 in the library of the Max-Planck-Institut für Europäische Rechtsgeschichte, Frankfurt am Main [BD 2] Klostermann, Vittorio ISBN: 3465027478
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Bibliographica Iuridica Bibliographica Iuridica / Catalogue of books printed in Spain, Portugal and the Southern and Northern Netherlands from the beginning of printing to 1800 in the library of the Max-Planck-Institut für Europäische Rechtsgeschichte, Frankfurt am Main [BD 2] (Klostermann, Vittorio) ISBN: 978-3-465-02747-8 Leinen XLII, 598 S. Bibliographica Iuridica / Catalogue of books printed in Spain, Portugal and the Southern and Northern Netherlands from the beginning of printing to 1800 in the library of the Max-Planck-Institut für Europäische Rechtsgeschichte, Frankfurt am Main Bearbeitet von Osler, Douglas J Verlag : Klostermann, Vittorio ISBN : 978-3-465-02747-8 Einband : Leinen Preisinfo : 99,00 Eur[D] / 101,80 Eur[A] Alle Preisangaben in CHF (Schweizer Franken) sind unverbindliche Preisempfehlungen. Legende: UVP = unverbindliche Preisempfehlung, iVb = in Vorbereitung. Seiten/Umfang : XLII, 598 S. Erschienen : 2000 Aus der Reihe : Studien zur Europäischen Rechtsgeschichte 131 99,00 Eur[D] In 2000 the Max-Planck-Institute is inaugurating a new series of volumes devoted to the bibliography of European legal history in the modern period. The first two volumes to be published provide a bibliographical record of selected parts of the rich and varied collection of books gathered from all over Europe by the Institute since its inception in 1964. The holdings of works published in continental Europe from the beginning of printing up to 1600, of which the Institute possesses some 2.300 editions, including a small collection of incunables, constitute the first volume. A parallel volume, devoted to the 17th and 18th centuries, records the holdings of works of selected printing centres. The areas covered include the Southern and Northern Netherlands, of which the Institute has one of the largest collections outside the Netherlands, in addition to smaller collections of works printed in Spain and Portugal, many of which are only infrequently to be found outside the Iberian peninsula. The catalogues have been compiled as part of the preparation of a number of more substantial projects on the bibliography of European legal history. These projects seek to offer a bibliographical survey of the entire legal production from the beginning of printing to 1800 in a number major European countries. Buch

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Bearbeitet von Osler, Douglas J: Bibliographica Iuridica / Catalogue of books printed on the continent of Europe from the beginning of printing to 1600 in the library of the Max-Planck-Institut für Europäische Rechtsgeschichte, Frankfurt am Main [BD 1] Klostermann, Vittorio ISBN: 3465027461
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Bibliographica Iuridica Bibliographica Iuridica / Catalogue of books printed on the continent of Europe from the beginning of printing to 1600 in the library of the Max-Planck-Institut für Europäische Rechtsgeschichte, Frankfurt am Main [BD 1] (Klostermann, Vittorio) ISBN: 978-3-465-02746-1 Leinen XL, 652 S. Bibliographica Iuridica / Catalogue of books printed on the continent of Europe from the beginning of printing to 1600 in the library of the Max-Planck-Institut für Europäische Rechtsgeschichte, Frankfurt am Main Bearbeitet von Osler, Douglas J Verlag : Klostermann, Vittorio ISBN : 978-3-465-02746-1 Einband : Leinen Preisinfo : 99,00 Eur[D] / 101,80 Eur[A] Alle Preisangaben in CHF (Schweizer Franken) sind unverbindliche Preisempfehlungen. Legende: UVP = unverbindliche Preisempfehlung, iVb = in Vorbereitung. Seiten/Umfang : XL, 652 S. Erschienen : 2000 Aus der Reihe : Studien zur Europäischen Rechtsgeschichte 130 99,00 Eur[D] In 2000 the Max-Planck-Institute is inaugurating a new series of volumes devoted to the bibliography of European legal history in the modern period. The first two volumes to be published provide a bibliographical record of selected parts of the rich and varied collection of books gathered from all over Europe by the Institute since its inception in 1964. The holdings of works published in continental Europe from the beginning of printing up to 1600, of which the Institute possesses some 2.300 editions, including a small collection of incunables, constitute the first volume. A parallel volume, devoted to the 17th and 18th centuries, records the holdings of works of selected printing centres. The areas covered include the Southern and Northern Netherlands, of which the Institute has one of the largest collections outside the Netherlands, in addition to smaller collections of works printed in Spain and Portugal, many of which are only infrequently to be found outside the Iberian peninsula. The catalogues have been compiled as part of the preparation of a number of more substantial projects on the bibliography of European legal history. These projects seek to offer a bibliographical survey of the entire legal production from the beginning of printing to 1800 in a number major European countries. Buch

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