1import{J as Pt,K as jS,L as VS,M as US,N as Js,S as ht,i as pt,s as it,x as fc,y as W,e as un,z as V,A as F,b as P,O as Jt,P as ka,v as ua,d as N,B as j,f as da,g as w,h as a,Q as Ve,R as ha,T as he,U as fa,w as Tt,C as nr,D as rr,E as ar,F as sr,H as Se,k as i,l as o,m as l,V as F2,W as st,X as _t,Y as Pr,Z as Di,_ as ZS,$ as qS,a0 as M0,G as t,o as Lg,a1 as Ts,a as z,c as k,n as f,a2 as XS,a3 as YS,I as Rd,j as QS,a4 as kh,a5 as bS,a6 as t_,q as p,r as g,p as K,a7 as Ws,a8 as xS,a9 as eE,aa as H2,ab as J2,u as W2}from"../chunks/index.cb925899.js";import{r as tE,w as Ig}from"../chunks/index.a63a4ac8.js";var x2=function(u,e){return x2=Object.setPrototypeOf||{__proto__:[]}instanceof Array&&function(n,r){n.__proto__=r}||function(n,r){for(var s in r)Object.prototype.hasOwnProperty.call(r,s)&&(n[s]=r[s])},x2(u,e)};function gc(u,e){if(typeof e!="function"&&e!==null)throw new TypeError("Class extends value "+String(e)+" is not a constructor or null");x2(u,e);function n(){this.constructor=u}u.prototype=e===null?Object.create(e):(n.prototype=e.prototype,new n)}var Fs=function(){return Fs=Object.assign||function(e){for(var n,r=1,s=arguments.length;r<s;r++){n=arguments[r];for(var c in n)Object.prototype.hasOwnProperty.call(n,c)&&(e[c]=n[c])}return e},Fs.apply(this,arguments)};function C2(u){var e=typeof Symbol=="function"&&Symbol.iterator,n=e&&u[e],r=0;if(n)return n.call(u);if(u&&typeof u.length=="number")return{next:function(){return u&&r>=u.length&&(u=void 0),{value:u&&u[r++],done:!u}}};throw new TypeError(e?"Object is not iterable.":"Symbol.iterator is not defined.")}function nE(u,e){var n=typeof Symbol=="function"&&u[Symbol.iterator];if(!n)return u;var r=n.call(u),s,c=[],h;try{for(;(e===void 0||e-- >0)&&!(s=r.next()).done;)c.push(s.value)}catch(d){h={error:d}}finally{try{s&&!s.done&&(n=r.return)&&n.call(r)}finally{if(h)throw h.error}}return c}/** 2 * @license 3 * Copyright 2016 Google Inc. 4 * 5 * Permission is hereby granted, free of charge, to any person obtaining a copy 6 * of this software and associated documentation files (the "Software"), to deal 7 * in the Software without restriction, including without limitation the rights 8 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 9 * copies of the Software, and to permit persons to whom the Software is 10 * furnished to do so, subject to the following conditions: 11 * 12 * The above copyright notice and this permission notice shall be included in 13 * all copies or substantial portions of the Software. 14 * 15 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 16 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 17 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 18 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 19 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 20 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 21 * THE SOFTWARE. 22 */var Tp=function(){function u(e){e===void 0&&(e={}),this.adapter=e}return Object.defineProperty(u,"cssClasses",{get:function(){return{}},enumerable:!1,configurable:!0}),Object.defineProperty(u,"strings",{get:function(){return{}},enumerable:!1,configurable:!0}),Object.defineProperty(u,"numbers",{get:function(){return{}},enumerable:!1,configurable:!0}),Object.defineProperty(u,"defaultAdapter",{get:function(){return{}},enumerable:!1,configurable:!0}),u.prototype.init=function(){},u.prototype.destroy=function(){},u}();/** 23 * @license 24 * Copyright 2019 Google Inc. 25 * 26 * Permission is hereby granted, free of charge, to any person obtaining a copy 27 * of this software and associated documentation files (the "Software"), to deal 28 * in the Software without restriction, including without limitation the rights 29 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 30 * copies of the Software, and to permit persons to whom the Software is 31 * furnished to do so, subject to the following conditions: 32 * 33 * The above copyright notice and this permission notice shall be included in 34 * all copies or substantial portions of the Software. 35 * 36 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 37 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 38 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 39 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 40 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 41 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 42 * THE SOFTWARE. 43 */function rE(u){return u===void 0&&(u=window),aE(u)?{passive:!0}:!1}function aE(u){u===void 0&&(u=window);var e=!1;
43try{var n={get passive(){return e=!0,!1}},r=function(){};u.document.addEventListener("test",r,n),u.document.removeEventListener("test",r,n)}catch{e=!1}return e}const sE=Object.freeze(Object.defineProperty({__proto__:null,applyPassive:rE},Symbol.toStringTag,{value:"Module"}));/** 44 * @license 45 * Copyright 2018 Google Inc. 46 * 47 * Permission is hereby granted, free of charge, to any person obtaining a copy 48 * of this software and associated documentation files (the "Software"), to deal 49 * in the Software without restriction, including without limitation the rights 50 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 51 * copies of the Software, and to permit persons to whom the Software is 52 * furnished to do so, subject to the following conditions: 53 * 54 * The above copyright notice and this permission notice shall be included in 55 * all copies or substantial portions of the Software. 56 * 57 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 58 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 59 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 60 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 61 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 62 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 63 * THE SOFTWARE. 64 */function iE(u,e){if(u.closest)return u.closest(e);for(var n=u;n;){if(SS(n,e))return n;n=n.parentElement}return null}function SS(u,e){var n=u.matches||u.webkitMatchesSelector||u.msMatchesSelector;return n.call(u,e)}function oE(u){var e=u;if(e.offsetParent!==null)return e.scrollWidth;var n=e.cloneNode(!0);n.style.setProperty("position","absolute"),n.style.setProperty("transform","translate(-9999px, -9999px)"),document.documentElement.appendChild(n);var r=n.scrollWidth;return document.documentElement.removeChild(n),r}const n_=Object.freeze(Object.defineProperty({__proto__:null,closest:iE,estimateScrollWidth:oE,matches:SS},Symbol.toStringTag,{value:"Module"}));/** 65 * @license 66 * Copyright 2016 Google Inc. 67 * 68 * Permission is hereby granted, free of charge, to any person obtaining a copy 69 * of this software and associated documentation files (the "Software"), to deal 70 * in the Software without restriction, including without limitation the rights 71 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 72 * copies of the Software, and to permit persons to whom the Software is 73 * furnished to do so, subject to the following conditions: 74 * 75 * The above copyright notice and this permission notice shall be included in 76 * all copies or substantial portions of the Software. 77 * 78 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 79 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 80 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 81 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 82 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 83 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 84 * THE SOFTWARE. 85 */var lE={BG_FOCUSED:"mdc-ripple-upgraded--background-focused",FG_ACTIVATION:"mdc-ripple-upgraded--foreground-activation",FG_DEACTIVATION:"mdc-ripple-upgraded--foreground-deactivation",ROOT:"mdc-ripple-upgraded",UNBOUNDED:"mdc-ripple-upgraded--unbounded"},cE={VAR_FG_SCALE:"--mdc-ripple-fg-scale",VAR_FG_SIZE:"--mdc-ripple-fg-size",VAR_FG_TRANSLATE_END:"--mdc-ripple-fg-translate-end",VAR_FG_TRANSLATE_START:"--mdc-ripple-fg-translate-start",VAR_LEFT:"--mdc-ripple-left",VAR_TOP:"--mdc-ripple-top"},P0={DEACTIVATION_TIMEOUT_MS:225,FG_DEACTIVATION_MS:150,INITIAL_ORIGIN_SCALE:.6,PADDING:10,TAP_DELAY_MS:300},B2;function uE(u,e){e===void 0&&(e=!1);var n=u.CSS,r=B2;if(typeof B2=="boolean"&&!e)return B2;var s=n&&typeof n.supports=="function";if(!s)return!1;var c=n.supports("--css-vars","yes"),h=n.supports("(--css-vars: yes)")&&n.supports("color","#00000000");return r=c||h,e||(B2=r),r}function dE(u,e,n){if(!u)return{x:0,y:0};var r=e.x,s=e.y,c=r+n.left,h=s+n.top,d,m;if(u.type==="touchstart"){var b=u;d=b.changedTouches[0].pageX-c,m=b.changedTouches[0].pageY-h}else{var _=u;d=_.pageX-c,m=_.pageY-h}return{x:d,y:m}}/** 86 * @license 87 * Copyright 2016 Google Inc. 88 * 89 * Permission is hereby granted, free of charge, to any person obtaining a copy 90 * of this software and associated documentation files (the "Software"), to deal 91 * in the Software without restriction, including without limitation the rights 92 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 93 * copies of the Software, and to permit persons to whom the Software is 94 * furnished to do so, subject to the following conditions: 95 * 96 * The above copyright notice and this permission notice shall be included in 97 * all copies or substantial portions of the Software. 98 * 99 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 100 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 101 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 102 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 103 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 104 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 105 * THE SOFTWARE. 106 */var T0=["touchstart","pointerdown","mousedown","keydown"],I0=["touchend","pointerup","mouseup","contextmenu"],O2=[],fE=function(u){gc(e,u);function e(n){var r=u.call(this,Fs(Fs({},e.defaultAdapter),n))||this;return r.activationAnimationHasEnded=!1,r.activationTimer=0,r.fgDeactivationRemovalTimer=0,r.fgScale="0",r.frame={width:0,height:0},r.initialSize=0,r.layoutFrame=0,r.maxRadius=0,r.unboundedCoords={left:0,top:0},r.activationState=r.defaultActivationState(),r.activationTimerCallback=function(){r.activationAnimationHasEnded=!0,r.runDeactivationUXLogicIfReady()},r.activateHandler=function(s){r.activateImpl(s)},r.deactivateHandler=function(){r.deactivateImpl()},r.focusHandler=function(){r.handleFocus()},r.blurHandler=function(){r.handleBlur()},r.resizeHandler=function(){r.layout()},r}
vendor: 11,982 bytes, lines 106-148
106return Object.defineProperty(e,"cssClasses",{get:function(){return lE},enumerable:!1,configurable:!0}),Object.defineProperty(e,"strings",{get:function(){return cE},enumerable:!1,configurable:!0}),Object.defineProperty(e,"numbers",{get:function(){return P0},enumerable:!1,configurable:!0}),Object.defineProperty(e,"defaultAdapter",{get:function(){return{addClass:function(){},browserSupportsCssVars:function(){return!0},computeBoundingRect:function(){return{top:0,right:0,bottom:0,left:0,width:0,height:0}},containsEventTarget:function(){return!0},deregisterDocumentInteractionHandler:function(){},deregisterInteractionHandler:function(){},deregisterResizeHandler:function(){},getWindowPageOffset:function(){return{x:0,y:0}},isSurfaceActive:function(){return!0},isSurfaceDisabled:function(){return!0},isUnbounded:function(){return!0},registerDocumentInteractionHandler:function(){},registerInteractionHandler:function(){},registerResizeHandler:function(){},removeClass:function(){},updateCssVariable:function(){}}},enumerable:!1,configurable:!0}),e.prototype.init=function(){var n=this,r=this.supportsPressRipple();if(this.registerRootHandlers(r),r){var s=e.cssClasses,c=s.ROOT,h=s.UNBOUNDED;requestAnimationFrame(function(){n.adapter.addClass(c),n.adapter.isUnbounded()&&(n.adapter.addClass(h),n.layoutInternal())})}},e.prototype.destroy=function(){var n=this;if(this.supportsPressRipple()){this.activationTimer&&(clearTimeout(this.activationTimer),this.activationTimer=0,this.adapter.removeClass(e.cssClasses.FG_ACTIVATION)),this.fgDeactivationRemovalTimer&&(clearTimeout(this.fgDeactivationRemovalTimer),this.fgDeactivationRemovalTimer=0,this.adapter.removeClass(e.cssClasses.FG_DEACTIVATION));var r=e.cssClasses,s=r.ROOT,c=r.UNBOUNDED;requestAnimationFrame(function(){n.adapter.removeClass(s),n.adapter.removeClass(c),n.removeCssVars()})}this.deregisterRootHandlers(),this.deregisterDeactivationHandlers()},e.prototype.activate=function(n){this.activateImpl(n)},e.prototype.deactivate=function(){this.deactivateImpl()},e.prototype.layout=function(){var n=this;this.layoutFrame&&cancelAnimationFrame(this.layoutFrame),this.layoutFrame=requestAnimationFrame(function(){n.layoutInternal(),n.layoutFrame=0})},e.prototype.setUnbounded=function(n){var r=e.cssClasses.UNBOUNDED;n?this.adapter.addClass(r):this.adapter.removeClass(r)},e.prototype.handleFocus=function(){var n=this;requestAnimationFrame(function(){return n.adapter.addClass(e.cssClasses.BG_FOCUSED)})},e.prototype.handleBlur=function(){var n=this;requestAnimationFrame(function(){return n.adapter.removeClass(e.cssClasses.BG_FOCUSED)})},e.prototype.supportsPressRipple=function(){return this.adapter.browserSupportsCssVars()},e.prototype.defaultActivationState=function(){return{activationEvent:void 0,hasDeactivationUXRun:!1,isActivated:!1,isProgrammatic:!1,wasActivatedByPointer:!1,wasElementMadeActive:!1}},e.prototype.registerRootHandlers=function(n){var r,s;if(n){try{for(var c=C2(T0),h=c.next();!h.done;h=c.next()){var d=h.value;this.adapter.registerInteractionHandler(d,this.activateHandler)}}catch(m){r={error:m}}finally{try{h&&!h.done&&(s=c.return)&&s.call(c)}finally{if(r)throw r.error}}this.adapter.isUnbounded()&&this.adapter.registerResizeHandler(this.resizeHandler)}this.adapter.registerInteractionHandler("focus",this.focusHandler),this.adapter.registerInteractionHandler("blur",this.blurHandler)},e.prototype.registerDeactivationHandlers=function(n){var r,s;if(n.type==="keydown")this.adapter.registerInteractionHandler("keyup",this.deactivateHandler);else try{for(var c=C2(I0),h=c.next();!h.done;h=c.next()){var d=h.value;this.adapter.registerDocumentInteractionHandler(d,this.deactivateHandler)}}catch(m){r={error:m}}finally{try{h&&!h.done&&(s=c.return)&&s.call(c)}finally{if(r)throw r.error}}},e.prototype.deregisterRootHandlers=function(){var n,r;try{for(var s=C2(T0),c=s.next();!c.done;c=s.next()){var h=c.value;this.adapter.deregisterInteractionHandler(h,this.activateHandler)}}catch(d){n={error:d}}finally{try{c&&!c.done&&(r=s.return)&&r.call(s)}finally{if(n)throw n.error}}this.adapter.deregisterInteractionHandler("focus",this.focusHandler),this.adapter.deregisterInteractionHandler("blur",this.blurHandler),this.adapter.isUnbounded()&&this.adapter.deregisterResizeHandler(this.resizeHandler)},e.prototype.deregisterDeactivationHandlers=function(){var n,r;this.adapter.deregisterInteractionHandler("keyup",this.deactivateHandler);try{for(var s=C2(I0),c=s.next();!c.done;c=s.next()){var h=c.value;this.adapter.deregisterDocumentInteractionHandler(h,this.deactivateHandler)}}catch(d){n={error:d}}finally{try{c&&!c.done&&(r=s.return)&&r.call(s)}finally{if(n)throw n.error}}},e.prototype.removeCssVars=function(){var n=this,r=e.strings,s=Object.keys(r);s.forEach(function(c){c.indexOf("VAR_")===0&&n.adapter.updateCssVariable(r[c],null)})},e.prototype.activateImpl=function(n){var r=this;if(!this.adapter.isSurfaceDisabled()){var s=this.activationState;if(!s.isActivated){var c=this.previousActivationEvent,h=c&&n!==void 0&&c.type!==n.type;if(!h){s.isActivated=!0,s.isProgrammatic=n===void 0,s.activationEvent=n,s.wasActivatedByPointer=s.isProgrammatic?!1:n!==void 0&&(n.type==="mousedown"||n.type==="touchstart"||n.type==="pointerdown");var d=n!==void 0&&O2.length>0&&O2.some(function(m){return r.adapter.containsEventTarget(m)});if(d){this.resetActivationState();return}n!==void 0&&(O2.push(n.target),this.registerDeactivationHandlers(n)),s.wasElementMadeActive=this.checkElementMadeActive(n),s.wasElementMadeActive&&this.animateActivation(),requestAnimationFrame(function(){O2=[],!s.wasElementMadeActive&&n!==void 0&&(n.key===" "||n.keyCode===32)&&(s.wasElementMadeActive=r.checkElementMadeActive(n),s.wasElementMadeActive&&r.animateActivation()),s.wasElementMadeActive||(r.activationState=r.defaultActivationState())})}}}},e.prototype.checkElementMadeActive=function(n){return n!==void 0&&n.type==="keydown"?this.adapter.isSurfaceActive():!0},e.prototype.animateActivation=function(){var n=this,r=e.strings,s=r.VAR_FG_TRANSLATE_START,c=r.VAR_FG_TRANSLATE_END,h=e.cssClasses,d=h.FG_DEACTIVATION,m=h.FG_ACTIVATION,b=e.numbers.DEACTIVATION_TIMEOUT_MS;this.layoutInternal();var _="",v="";if(!this.adapter.isUnbounded()){var E=this.getFgTranslationCoordinates(),y=E.startPoint,I=E.endPoint;_=y.x+"px, "+y.y+"px",v=I.x+"px, "+I.y+"px"}this.adapter.updateCssVariable(s,_),this.adapter.updateCssVariable(c,v),clearTimeout(this.activationTimer),clearTimeout(this.fgDeactivationRemovalTimer),this.rmBoundedActivationClasses(),this.adapter.removeClass(d),this.adapter.computeBoundingRect(),this.adapter.addClass(m),this.activationTimer=setTimeout(function(){n.activationTimerCallback()},b)},e.prototype.getFgTranslationCoordinates=function(){var n=this.activationState,r=n.activationEvent,s=n.wasActivatedByPointer,c;s?c=dE(r,this.adapter.getWindowPageOffset(),this.adapter.computeBoundingRect()):c={x:this.frame.width/2,y:this.frame.height/2},c={x:c.x-this.initialSize/2,y:c.y-this.initialSize/2};var h={x:this.frame.width/2-this.initialSize/2,y:this.frame.height/2-this.initialSize/2};return{startPoint:c,endPoint:h}},e.prototype.runDeactivationUXLogicIfReady=function(){var n=this,r=e.cssClasses.FG_DEACTIVATION,s=this.activationState,c=s.hasDeactivationUXRun,h=s.isActivated,d=c||!h;d&&this.activationAnimationHasEnded&&(this.rmBoundedActivationClasses(),this.adapter.addClass(r),this.fgDeactivationRemovalTimer=setTimeout(function(){n.adapter.removeClass(r)},P0.FG_DEACTIVATION_MS))},e.prototype.rmBoundedActivationClasses=function(){var n=e.cssClasses.FG_ACTIVATION;this.adapter.removeClass(n),this.activationAnimationHasEnded=!1,this.adapter.computeBoundingRect()},e.prototype.resetActivationState=function(){var n=this;this.previousActivationEvent=this.activationState.activationEvent,this.activationState=this.defaultActivationState(),setTimeout(function(){return n.previousActivationEvent=void 0},e.numbers.TAP_DELAY_MS)},e.prototype.deactivateImpl=function(){var n=this,r=this.activationState;if(r.isActivated){var s=Fs({},r);r.isProgrammatic?(requestAnimationFrame(function(){n.animateDeactivation(s)}),this.resetActivationState()):(this.deregisterDeactivationHandlers(),requestAnimationFrame(function(){n.activationState.hasDeactivationUXRun=!0,n.animateDeactivation(s),n.resetActivationState()}))}},e.prototype.animateDeactivation=function(n){var r=n.wasActivatedByPointer,s=n.wasElementMadeActive;(r||s)&&this.runDeactivationUXLogicIfReady()},e.prototype.layoutInternal=function(){var n=this;this.frame=this.adapter.computeBoundingRect();var r=Math.max(this.frame.height,this.frame.width),s=function(){var h=Math.sqrt(Math.pow(n.frame.width,2)+Math.pow(n.frame.height,2));return h+e.numbers.PADDING};this.maxRadius=this.adapter.isUnbounded()?r:s();var c=Math.floor(r*e.numbers.INITIAL_ORIGIN_SCALE);this.adapter.isUnbounded()&&c%2!==0?this.initialSize=c-1:this.initialSize=c,this.fgScale=""+this.maxRadius/this.initialSize,this.updateLayoutCssVars()},e.prototype.updateLayoutCssVars=function(){var n=e.strings,r=n.VAR_FG_SIZE,s=n.VAR_LEFT,c=n.VAR_TOP,h=n.VAR_FG_SCALE;this.adapter.updateCssVariable(r,this.initialSize+"px"),this.adapter.updateCssVariable(h,this.fgScale),this.adapter.isUnbounded()&&(this.unboundedCoords={left:Math.round(this.frame.width/2-this.initialSize/2),top:Math.round(this.frame.height/2-this.initialSize/2)},this.adapter.updateCssVariable(s,this.unboundedCoords.left+"px"),this.adapter.updateCssVariable(c,this.unboundedCoords.top+"px"))},e}(Tp);/** 107 * @license 108 * Copyright 2018 Google Inc. 109 * 110 * Permission is hereby granted, free of charge, to any person obtaining a copy 111 * of this software and associated documentation files (the "Software"), to deal 112 * in the Software without restriction, including without limitation the rights 113 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 114 * copies of the Software, and to permit persons to whom the Software is 115 * furnished to do so, subject to the following conditions: 116 * 117 * The above copyright notice and this permission notice shall be included in 118 * all copies or substantial portions of the Software. 119 * 120 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 121 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 122 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 123 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 124 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 125 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 126 * THE SOFTWARE. 127 */var hE={ACTIVE:"mdc-tab-indicator--active",FADE:"mdc-tab-indicator--fade",NO_TRANSITION:"mdc-tab-indicator--no-transition"},pE={CONTENT_SELECTOR:".mdc-tab-indicator__content"};/** 128 * @license 129 * Copyright 2018 Google Inc. 130 * 131 * Permission is hereby granted, free of charge, to any person obtaining a copy 132 * of this software and associated documentation files (the "Software"), to deal 133 * in the Software without restriction, including without limitation the rights 134 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 135 * copies of the Software, and to permit persons to whom the Software is 136 * furnished to do so, subject to the following conditions: 137 * 138 * The above copyright notice and this permission notice shall be included in 139 * all copies or substantial portions of the Software. 140 * 141 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 142 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 143 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 144 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 145 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 146 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 147 * THE SOFTWARE. 148 */var sh=function(u){gc(e,u);function e(n){return u.call(this,Fs(Fs({},e.defaultAdapter),n))||this}
vendor: 6,334 bytes, lines 148-232
148return Object.defineProperty(e,"cssClasses",{get:function(){return hE},enumerable:!1,configurable:!0}),Object.defineProperty(e,"strings",{get:function(){return pE},enumerable:!1,configurable:!0}),Object.defineProperty(e,"defaultAdapter",{get:function(){return{addClass:function(){},removeClass:function(){},computeContentClientRect:function(){return{top:0,right:0,bottom:0,left:0,width:0,height:0}},setContentStyleProperty:function(){}}},enumerable:!1,configurable:!0}),e.prototype.computeContentClientRect=function(){return this.adapter.computeContentClientRect()},e}(Tp);/** 149 * @license 150 * Copyright 2018 Google Inc. 151 * 152 * Permission is hereby granted, free of charge, to any person obtaining a copy 153 * of this software and associated documentation files (the "Software"), to deal 154 * in the Software without restriction, including without limitation the rights 155 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 156 * copies of the Software, and to permit persons to whom the Software is 157 * furnished to do so, subject to the following conditions: 158 * 159 * The above copyright notice and this permission notice shall be included in 160 * all copies or substantial portions of the Software. 161 * 162 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 163 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 164 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 165 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 166 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 167 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 168 * THE SOFTWARE. 169 */var gE=function(u){gc(e,u);function e(){return u!==null&&u.apply(this,arguments)||this}return e.prototype.activate=function(){this.adapter.addClass(sh.cssClasses.ACTIVE)},e.prototype.deactivate=function(){this.adapter.removeClass(sh.cssClasses.ACTIVE)},e}(sh);/** 170 * @license 171 * Copyright 2018 Google Inc. 172 * 173 * Permission is hereby granted, free of charge, to any person obtaining a copy 174 * of this software and associated documentation files (the "Software"), to deal 175 * in the Software without restriction, including without limitation the rights 176 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 177 * copies of the Software, and to permit persons to whom the Software is 178 * furnished to do so, subject to the following conditions: 179 * 180 * The above copyright notice and this permission notice shall be included in 181 * all copies or substantial portions of the Software. 182 * 183 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 184 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 185 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 186 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 187 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 188 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 189 * THE SOFTWARE. 190 */var L0=function(u){gc(e,u);function e(){return u!==null&&u.apply(this,arguments)||this}return e.prototype.activate=function(n){if(!n){this.adapter.addClass(sh.cssClasses.ACTIVE);return}var r=this.computeContentClientRect(),s=n.width/r.width,c=n.left-r.left;this.adapter.addClass(sh.cssClasses.NO_TRANSITION),this.adapter.setContentStyleProperty("transform","translateX("+c+"px) scaleX("+s+")"),this.computeContentClientRect(),this.adapter.removeClass(sh.cssClasses.NO_TRANSITION),this.adapter.addClass(sh.cssClasses.ACTIVE),this.adapter.setContentStyleProperty("transform","")},e.prototype.deactivate=function(){this.adapter.removeClass(sh.cssClasses.ACTIVE)},e}(sh);/** 191 * @license 192 * Copyright 2018 Google Inc. 193 * 194 * Permission is hereby granted, free of charge, to any person obtaining a copy 195 * of this software and associated documentation files (the "Software"), to deal 196 * in the Software without restriction, including without limitation the rights 197 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 198 * copies of the Software, and to permit persons to whom the Software is 199 * furnished to do so, subject to the following conditions: 200 * 201 * The above copyright notice and this permission notice shall be included in 202 * all copies or substantial portions of the Software. 203 * 204 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 205 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 206 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 207 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 208 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 209 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 210 * THE SOFTWARE. 211 */var K2={ACTIVE:"mdc-tab--active"},a2={ARIA_SELECTED:"aria-selected",CONTENT_SELECTOR:".mdc-tab__content",INTERACTED_EVENT:"MDCTab:interacted",RIPPLE_SELECTOR:".mdc-tab__ripple",TABINDEX:"tabIndex",TAB_INDICATOR_SELECTOR:".mdc-tab-indicator"};/** 212 * @license 213 * Copyright 2018 Google Inc. 214 * 215 * Permission is hereby granted, free of charge, to any person obtaining a copy 216 * of this software and associated documentation files (the "Software"), to deal 217 * in the Software without restriction, including without limitation the rights 218 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 219 * copies of the Software, and to permit persons to whom the Software is 220 * furnished to do so, subject to the following conditions: 221 * 222 * The above copyright notice and this permission notice shall be included in 223 * all copies or substantial portions of the Software. 224 * 225 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 226 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 227 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 228 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 229 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 230 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 231 * THE SOFTWARE. 232 */var mE=function(u){gc(e,u);function e(n){var r=u.call(this,Fs(Fs({},e.defaultAdapter),n))||this;
232return r.focusOnActivate=!0,r}return Object.defineProperty(e,"cssClasses",{get:function(){return K2},enumerable:!1,configurable:!0}),Object.defineProperty(e,"strings",{get:function(){return a2},enumerable:!1,configurable:!0}),Object.defineProperty(e,"defaultAdapter",{get:function(){return{addClass:function(){},removeClass:function(){},hasClass:function(){return!1},setAttr:function(){},activateIndicator:function(){},deactivateIndicator:function(){},notifyInteracted:function(){},getOffsetLeft:function(){return 0},getOffsetWidth:function(){return 0},getContentOffsetLeft:function(){return 0},getContentOffsetWidth:function(){return 0},focus:function(){}}},enumerable:!1,configurable:!0}),e.prototype.handleClick=function(){this.adapter.notifyInteracted()},e.prototype.isActive=function(){return this.adapter.hasClass(K2.ACTIVE)},e.prototype.setFocusOnActivate=function(n){this.focusOnActivate=n},e.prototype.activate=function(n){this.adapter.addClass(K2.ACTIVE),this.adapter.setAttr(a2.ARIA_SELECTED,"true"),this.adapter.setAttr(a2.TABINDEX,"0"),this.adapter.activateIndicator(n),this.focusOnActivate&&this.adapter.focus()},e.prototype.deactivate=function(){this.isActive()&&(this.adapter.removeClass(K2.ACTIVE),this.adapter.setAttr(a2.ARIA_SELECTED,"false"),this.adapter.setAttr(a2.TABINDEX,"-1"),this.adapter.deactivateIndicator())},e.prototype.computeDimensions=function(){var n=this.adapter.getOffsetWidth(),r=this.adapter.getOffsetLeft(),s=this.adapter.getContentOffsetWidth(),c=this.adapter.getContentOffsetLeft();return{contentLeft:r+c,contentRight:r+c+s,rootLeft:r,rootRight:r+n}},e}(Tp);function Ae(u){return Object.entries(u).filter(([e,n])=>e!==""&&n).map(([e])=>e).join(" ")}function xa(u,e,n,r={bubbles:!0},s=!1){if(typeof Event<"u"&&u){const c=new CustomEvent(e,Object.assign(Object.assign({},r),{detail:n}));if(u==null||u.dispatchEvent(c),s&&e.startsWith("SMUI")){const h=new CustomEvent(e.replace(/^SMUI/g,()=>"MDC"),Object.assign(Object.assign({},r),{detail:n}));u==null||u.dispatchEvent(h),h.defaultPrevented&&c.preventDefault()}return c}}function hc(u,e){let n=Object.getOwnPropertyNames(u);const r={};for(let s=0;s<n.length;s++){const c=n[s],h=c.indexOf("$");h!==-1&&e.indexOf(c.substring(0,h+1))!==-1||e.indexOf(c)===-1&&(r[c]=u[c])}return r}const R0=/^[a-z]+(?::(?:preventDefault|stopPropagation|passive|nonpassive|capture|once|self))+$/,vE=/^[^$]+(?:\$(?:preventDefault|stopPropagation|passive|nonpassive|capture|once|self))+$/;function pa(u){let e,n=[];u.$on=(s,c)=>{let h=s,d=()=>{};return e?d=e(h,c):n.push([h,c]),h.match(R0)&&console&&console.warn('Event modifiers in SMUI now use "$" instead of ":", so that all events can be bound with modifiers. 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IN NO EVENT SHALL THE 270 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 271 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 272 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 273 * THE SOFTWARE. 274 */var zS={ANIMATING:"mdc-tab-scroller--animating",SCROLL_AREA_SCROLL:"mdc-tab-scroller__scroll-area--scroll",SCROLL_TEST:"mdc-tab-scroller__test"},FE={AREA_SELECTOR:".mdc-tab-scroller__scroll-area",CONTENT_SELECTOR:".mdc-tab-scroller__scroll-content"};/** 275 * @license 276 * Copyright 2018 Google Inc. 277 * 278 * Permission is hereby granted, free of charge, to any person obtaining a copy 279 * of this software and associated documentation files (the "Software"), to deal 280 * in the Software without restriction, including without limitation the rights 281 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 282 * copies of the Software, and to permit persons to whom the Software is 283 * furnished to do so, subject to the following conditions: 284 * 285 * The above copyright notice and this permission notice shall be included in 286 * all copies or substantial portions of the Software. 287 * 288 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 289 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 290 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 291 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 292 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 293 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 294 * THE SOFTWARE. 295 */var r_=function(){function u(e){this.adapter=e}return u}();/** 296 * @license 297 * Copyright 2018 Google Inc. 298 * 299 * Permission is hereby granted, free of charge, to any person obtaining a copy 300 * of this software and associated documentation files (the "Software"), to deal 301 * in the Software without restriction, including without limitation the rights 302 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 303 * copies of the Software, and to permit persons to whom the Software is 304 * furnished to do so, subject to the following conditions: 305 * 306 * The above copyright notice and this permission notice shall be included in 307 * all copies or substantial portions of the Software. 308 * 309 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 310 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 311 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 312 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 313 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 314 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 315 * THE SOFTWARE. 316 */var jE=function(u){gc(e,u);function e(){return u!==null&&u.apply(this,arguments)||this}return e.prototype.getScrollPositionRTL=function(){var n=this.adapter.getScrollAreaScrollLeft(),r=this.calculateScrollEdges().right;return Math.round(r-n)},e.prototype.scrollToRTL=function(n){var r=this.calculateScrollEdges(),s=this.adapter.getScrollAreaScrollLeft(),c=this.clampScrollValue(r.right-n);return{finalScrollPosition:c,scrollDelta:c-s}},e.prototype.incrementScrollRTL=function(n){var r=this.adapter.getScrollAreaScrollLeft(),s=this.clampScrollValue(r-n);return{finalScrollPosition:s,scrollDelta:s-r}},e.prototype.getAnimatingScrollPosition=function(n){return n},e.prototype.calculateScrollEdges=function(){var n=this.adapter.getScrollC
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316ontentOffsetWidth(),r=this.adapter.getScrollAreaOffsetWidth();return{left:0,right:n-r}},e.prototype.clampScrollValue=function(n){var r=this.calculateScrollEdges();return Math.min(Math.max(r.left,n),r.right)},e}(r_);/** 317 * @license 318 * Copyright 2018 Google Inc. 319 * 320 * Permission is hereby granted, free of charge, to any person obtaining a copy 321 * of this software and associated documentation files (the "Software"), to deal 322 * in the Software without restriction, including without limitation the rights 323 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 324 * copies of the Software, and to permit persons to whom the Software is 325 * furnished to do so, subject to the following conditions: 326 * 327 * The above copyright notice and this permission notice shall be included in 328 * all copies or substantial portions of the Software. 329 * 330 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 331 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 332 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 333 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 334 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 335 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 336 * THE SOFTWARE. 337 */var VE=function(u){gc(e,u);function e(){return u!==null&&u.apply(this,arguments)||this}return e.prototype.getScrollPositionRTL=function(n){var r=this.adapter.getScrollAreaScrollLeft();return Math.round(n-r)},e.prototype.scrollToRTL=function(n){var r=this.adapter.getScrollAreaScrollLeft(),s=this.clampScrollValue(-n);return{finalScrollPosition:s,scrollDelta:s-r}},e.prototype.incrementScrollRTL=function(n){var r=this.adapter.getScrollAreaScrollLeft(),s=this.clampScrollValue(r-n);return{finalScrollPosition:s,scrollDelta:s-r}},e.prototype.getAnimatingScrollPosition=function(n,r){return n-r},e.prototype.calculateScrollEdges=function(){var n=this.adapter.getScrollContentOffsetWidth(),r=this.adapter.getScrollAreaOffsetWidth();return{left:r-n,right:0}},e.prototype.clampScrollValue=function(n){var r=this.calculateScrollEdges();return Math.max(Math.min(r.right,n),r.left)},e}(r_);/** 338 * @license 339 * Copyright 2018 Google Inc. 340 * 341 * Permission is hereby granted, free of charge, to any person obtaining a copy 342 * of this software and associated documentation files (the "Software"), to deal 343 * in the Software without restriction, including without limitation the rights 344 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 345 * copies of the Software, and to permit persons to whom the Software is 346 * furnished to do so, subject to the following conditions: 347 * 348 * The above copyright notice and this permission notice shall be included in 349 * all copies or substantial portions of the Software. 350 * 351 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 352 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 353 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 354 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 355 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 356 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 357 * THE SOFTWARE. 358 */var UE=function(u){gc(e,u);function e(){return u!==null&&u.apply(this,arguments)||this}return e.prototype.getScrollPositionRTL=function(n){var r=this.adapter.getScrollAreaScrollLeft();return Math.round(r-n)},e.prototype.scrollToRTL=function(n){var r=this.adapter.getScrollAreaScrollLeft(),s=this.clampScrollValue(n);return{finalScrollPosition:s,scrollDelta:r-s}},e.prototype.incrementScrollRTL=function(n){var r=this.adapter.getScrollAreaScrollLeft(),s=this.clampScrollValue(r+n);return{finalScrollPosition:s,scrollDelta:r-s}},e.prototype.getAnimatingScrollPosition=function(n,r){return n+r},e.prototype.calculateScrollEdges=function(){var n=this.adapter.getScrollContentOffsetWidth(),r=this.adapter.getScrollAreaOffsetWidth();return{left:n-r,right:0}},e.prototype.clampScrollValue=function(n){var r=this.calculateScrollEdges();return Math.min(Math.max(r.right,n),r.left)},e}(r_);/** 359 * @license 360 * Copyright 2018 Google Inc. 361 * 362 * Permission is hereby granted, free of charge, to any person obtaining a copy 363 * of this software and associated documentation files (the "Software"), to deal 364 * in the Software without restriction, including without limitation the rights 365 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 366 * copies of the Software, and to permit persons to whom the Software is 367 * furnished to do so, subject to the following conditions: 368 * 369 * The above copyright notice and this permission notice shall be included in 370 * all copies or substantial portions of the Software. 371 * 372 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 373 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 374 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 375 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 376 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 377 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 378 * THE SOFTWARE. 379 */var ZE=function(u){gc(e,u);function e(n){var r=u.call(this,Fs(Fs({},e.defaultAdapter),n))||this;return r.isAnimating=!1,r}
vendor: 4,828 bytes, line 379
379return Object.defineProperty(e,"cssClasses",{get:function(){return zS},enumerable:!1,configurable:!0}),Object.defineProperty(e,"strings",{get:function(){return FE},enumerable:!1,configurable:!0}),Object.defineProperty(e,"defaultAdapter",{get:function(){return{eventTargetMatchesSelector:function(){return!1},addClass:function(){},removeClass:function(){},addScrollAreaClass:function(){},setScrollAreaStyleProperty:function(){},setScrollContentStyleProperty:function(){},getScrollContentStyleValue:function(){return""},setScrollAreaScrollLeft:function(){},getScrollAreaScrollLeft:function(){return 0},getScrollContentOffsetWidth:function(){return 0},getScrollAreaOffsetWidth:function(){return 0},computeScrollAreaClientRect:function(){return{top:0,right:0,bottom:0,left:0,width:0,height:0}},computeScrollContentClientRect:function(){return{top:0,right:0,bottom:0,left:0,width:0,height:0}},computeHorizontalScrollbarHeight:function(){return 0}}},enumerable:!1,configurable:!0}),e.prototype.init=function(){var n=this.adapter.computeHorizontalScrollbarHeight();this.adapter.setScrollAreaStyleProperty("margin-bottom",-n+"px"),this.adapter.addScrollAreaClass(e.cssClasses.SCROLL_AREA_SCROLL)},e.prototype.getScrollPosition=function(){if(this.isRTL())return this.computeCurrentScrollPositionRTL();var n=this.calculateCurrentTranslateX(),r=this.adapter.getScrollAreaScrollLeft();return r-n},e.prototype.handleInteraction=function(){this.isAnimating&&this.stopScrollAnimation()},e.prototype.handleTransitionEnd=function(n){var r=n.target;!this.isAnimating||!this.adapter.eventTargetMatchesSelector(r,e.strings.CONTENT_SELECTOR)||(this.isAnimating=!1,this.adapter.removeClass(e.cssClasses.ANIMATING))},e.prototype.incrementScroll=function(n){n!==0&&this.animate(this.getIncrementScrollOperation(n))},e.prototype.incrementScrollImmediate=function(n){if(n!==0){var r=this.getIncrementScrollOperation(n);r.scrollDelta!==0&&(this.stopScrollAnimation(),this.adapter.setScrollAreaScrollLeft(r.finalScrollPosition))}},e.prototype.scrollTo=function(n){if(this.isRTL()){this.scrollToImplRTL(n);return}this.scrollToImpl(n)},e.prototype.getRTLScroller=function(){return this.rtlScrollerInstance||(this.rtlScrollerInstance=this.rtlScrollerFactory()),this.rtlScrollerInstance},e.prototype.calculateCurrentTranslateX=function(){var n=this.adapter.getScrollContentStyleValue("transform");if(n==="none")return 0;var r=/\((.+?)\)/.exec(n);if(!r)return 0;var s=r[1],c=nE(s.split(","),6);c[0],c[1],c[2],c[3];var h=c[4];return c[5],parseFloat(h)},e.prototype.clampScrollValue=function(n){var r=this.calculateScrollEdges();return Math.min(Math.max(r.left,n),r.right)},e.prototype.computeCurrentScrollPositionRTL=function(){var n=this.calculateCurrentTranslateX();return this.getRTLScroller().getScrollPositionRTL(n)},e.prototype.calculateScrollEdges=function(){var n=this.adapter.getScrollContentOffsetWidth(),r=this.adapter.getScrollAreaOffsetWidth();return{left:0,right:n-r}},e.prototype.scrollToImpl=function(n){var r=this.getScrollPosition(),s=this.clampScrollValue(n),c=s-r;this.animate({finalScrollPosition:s,scrollDelta:c})},e.prototype.scrollToImplRTL=function(n){var r=this.getRTLScroller().scrollToRTL(n);this.animate(r)},e.prototype.getIncrementScrollOperation=function(n){if(this.isRTL())return this.getRTLScroller().incrementScrollRTL(n);var r=this.getScrollPosition(),s=n+r,c=this.clampScrollValue(s),h=c-r;return{finalScrollPosition:c,scrollDelta:h}},e.prototype.animate=function(n){var r=this;n.scrollDelta!==0&&(this.stopScrollAnimation(),this.adapter.setScrollAreaScrollLeft(n.finalScrollPosition),this.adapter.setScrollContentStyleProperty("transform","translateX("+n.scrollDelta+"px)"),this.adapter.computeScrollAreaClientRect(),requestAnimationFrame(function(){r.adapter.addClass(e.cssClasses.ANIMATING),r.adapter.setScrollContentStyleProperty("transform","none")}),this.isAnimating=!0)},e.prototype.stopScrollAnimation=function(){this.isAnimating=!1;var n=this.getAnimatingScrollPosition();this.adapter.removeClass(e.cssClasses.ANIMATING),this.adapter.setScrollContentStyleProperty("transform","translateX(0px)"),this.adapter.setScrollAreaScrollLeft(n)},e.prototype.getAnimatingScrollPosition=function(){var n=this.calculateCurrentTranslateX(),r=this.adapter.getScrollAreaScrollLeft();return this.isRTL()?this.getRTLScroller().getAnimatingScrollPosition(r,n):r-n},e.prototype.rtlScrollerFactory=function(){var n=this.adapter.getScrollAreaScrollLeft();this.adapter.setScrollAreaScrollLeft(n-1);var r=this.adapter.getScrollAreaScrollLeft();if(r<0)return this.adapter.setScrollAreaScrollLeft(n),new VE(this.adapter);var s=this.adapter.computeScrollAreaClientRect(),c=this.adapter.computeScrollContentClientRect(),h=Math.round(c.right-s.right);return this.adapter.setScrollAreaScrollLeft(n),h===r?new UE(this.adapter):new jE(this.adapter)}
379,e.prototype.isRTL=function(){return this.adapter.getScrollContentStyleValue("direction")==="rtl"},e}(Tp);/** 380 * @license 381 * Copyright 2018 Google Inc. 382 * 383 * Permission is hereby granted, free of charge, to any person obtaining a copy 384 * of this software and associated documentation files (the "Software"), to deal 385 * in the Software without restriction, including without limitation the rights 386 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 387 * copies of the Software, and to permit persons to whom the Software is 388 * furnished to do so, subject to the following conditions: 389 * 390 * The above copyright notice and this permission notice shall be included in 391 * all copies or substantial portions of the Software. 392 * 393 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 394 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 395 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 396 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 397 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 398 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 399 * THE SOFTWARE. 400 */var X2;function qE(u,e){if(e===void 0&&(e=!0),e&&typeof X2<"u")return X2;var n=u.createElement("div");n.classList.add(zS.SCROLL_TEST),u.body.appendChild(n);var r=n.offsetHeight-n.clientHeight;return u.body.removeChild(n),e&&(X2=r),r}/** 401 * @license 402 * Copyright 2018 Google Inc. 403 * 404 * Permission is hereby granted, free of charge, to any person obtaining a copy 405 * of this software and associated documentation files (the "Software"), to deal 406 * in the Software without restriction, including without limitation the rights 407 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 408 * copies of the Software, and to permit persons to whom the Software is 409 * furnished to do so, subject to the following conditions: 410 * 411 * The above copyright notice and this permission notice shall be included in 412 * all copies or substantial portions of the Software. 413 * 414 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 415 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 416 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 417 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 418 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 419 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 420 * THE SOFTWARE. 421 */var Na={ARROW_LEFT_KEY:"ArrowLeft",ARROW_RIGHT_KEY:"ArrowRight",END_KEY:"End",ENTER_KEY:"Enter",HOME_KEY:"Home",SPACE_KEY:"Space",TAB_ACTIVATED_EVENT:"MDCTabBar:activated",TAB_SCROLLER_SELECTOR:".mdc-tab-scroller",TAB_SELECTOR:".mdc-tab"},Kc={ARROW_LEFT_KEYCODE:37,ARROW_RIGHT_KEYCODE:39,END_KEYCODE:35,ENTER_KEYCODE:13,EXTRA_SCROLL_AMOUNT:20,HOME_KEYCODE:36,SPACE_KEYCODE:32};/** 422 * @license 423 * Copyright 2018 Google Inc. 424 * 425 * Permission is hereby granted, free of charge, to any person obtaining a copy 426 * of this software and associated documentation files (the "Software"), to deal 427 * in the Software without restriction, including without limitation the rights 428 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 429 * copies of the Software, and to permit persons to whom the Software is 430 * furnished to do so, subject to the following conditions: 431 * 432 * The above copyright notice and this permission notice shall be included in 433 * all copies or substantial portions of the Software. 434 * 435 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 436 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 437 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 438 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 439 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 440 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 441 * THE SOFTWARE. 442 */var Ip=new Set;Ip.add(Na.ARROW_LEFT_KEY);Ip.add(Na.ARROW_RIGHT_KEY);Ip.add(Na.END_KEY);Ip.add(Na.HOME_KEY);Ip.add(Na.ENTER_KEY);Ip.add(Na.SPACE_KEY);var Lp=new Map;Lp.set(Kc.ARROW_LEFT_KEYCODE,Na.ARROW_LEFT_KEY);Lp.set(Kc.ARROW_RIGHT_KEYCODE,Na.ARROW_RIGHT_KEY);Lp.set(Kc.END_KEYCODE,Na.END_KEY);Lp.set(Kc.HOME_KEYCODE,Na.HOME_KEY);
vendor: 4,445 bytes, line 442
442Lp.set(Kc.ENTER_KEYCODE,Na.ENTER_KEY);Lp.set(Kc.SPACE_KEYCODE,Na.SPACE_KEY);var XE=function(u){gc(e,u);function e(n){var r=u.call(this,Fs(Fs({},e.defaultAdapter),n))||this;return r.useAutomaticActivation=!1,r}return Object.defineProperty(e,"strings",{get:function(){return Na},enumerable:!1,configurable:!0}),Object.defineProperty(e,"numbers",{get:function(){return Kc},enumerable:!1,configurable:!0}),Object.defineProperty(e,"defaultAdapter",{get:function(){return{scrollTo:function(){},incrementScroll:function(){},getScrollPosition:function(){return 0},getScrollContentWidth:function(){return 0},getOffsetWidth:function(){return 0},isRTL:function(){return!1},setActiveTab:function(){},activateTabAtIndex:function(){},deactivateTabAtIndex:function(){},focusTabAtIndex:function(){},getTabIndicatorClientRectAtIndex:function(){return{top:0,right:0,bottom:0,left:0,width:0,height:0}},getTabDimensionsAtIndex:function(){return{rootLeft:0,rootRight:0,contentLeft:0,contentRight:0}},getPreviousActiveTabIndex:function(){return-1},getFocusedTabIndex:function(){return-1},getIndexOfTabById:function(){return-1},getTabListLength:function(){return 0},notifyTabActivated:function(){}}},enumerable:!1,configurable:!0}),e.prototype.setUseAutomaticActivation=function(n){this.useAutomaticActivation=n},e.prototype.activateTab=function(n){var r=this.adapter.getPreviousActiveTabIndex();if(!(!this.indexIsInRange(n)||n===r)){var s;r!==-1&&(this.adapter.deactivateTabAtIndex(r),s=this.adapter.getTabIndicatorClientRectAtIndex(r)),this.adapter.activateTabAtIndex(n,s),this.scrollIntoView(n),this.adapter.notifyTabActivated(n)}},e.prototype.handleKeyDown=function(n){var r=this.getKeyFromEvent(n);if(r!==void 0)if(this.isActivationKey(r)||n.preventDefault(),this.useAutomaticActivation){if(this.isActivationKey(r))return;var s=this.determineTargetFromKey(this.adapter.getPreviousActiveTabIndex(),r);this.adapter.setActiveTab(s),this.scrollIntoView(s)}else{var c=this.adapter.getFocusedTabIndex();if(this.isActivationKey(r))this.adapter.setActiveTab(c);else{var s=this.determineTargetFromKey(c,r);this.adapter.focusTabAtIndex(s),this.scrollIntoView(s)}}},e.prototype.handleTabInteraction=function(n){this.adapter.setActiveTab(this.adapter.getIndexOfTabById(n.detail.tabId))},e.prototype.scrollIntoView=function(n){if(this.indexIsInRange(n)){if(n===0){this.adapter.scrollTo(0);return}if(n===this.adapter.getTabListLength()-1){this.adapter.scrollTo(this.adapter.getScrollContentWidth());return}if(this.isRTL()){this.scrollIntoViewImplRTL(n);return}this.scrollIntoViewImpl(n)}},e.prototype.determineTargetFromKey=function(n,r){var s=this.isRTL(),c=this.adapter.getTabListLength()-1,h=r===Na.END_KEY,d=r===Na.ARROW_LEFT_KEY&&!s||r===Na.ARROW_RIGHT_KEY&&s,m=r===Na.ARROW_RIGHT_KEY&&!s||r===Na.ARROW_LEFT_KEY&&s,b=n;return h?b=c:d?b-=1:m?b+=1:b=0,b<0?b=c:b>c&&(b=0),b},e.prototype.calculateScrollIncrement=function(n,r,s,c){var h=this.adapter.getTabDimensionsAtIndex(r),d=h.contentLeft-s-c,m=h.contentRight-s,b=m-Kc.EXTRA_SCROLL_AMOUNT,_=d+Kc.EXTRA_SCROLL_AMOUNT;return r<n?Math.min(b,0):Math.max(_,0)},e.prototype.calculateScrollIncrementRTL=function(n,r,s,c,h){var d=this.adapter.getTabDimensionsAtIndex(r),m=h-d.contentLeft-s,b=h-d.contentRight-s-c,_=b+Kc.EXTRA_SCROLL_AMOUNT,v=m-Kc.EXTRA_SCROLL_AMOUNT;return r>n?Math.max(_,0):Math.min(v,0)},e.prototype.findAdjacentTabIndexClosestToEdge=function(n,r,s,c){var h=r.rootLeft-s,d=r.rootRight-s-c,m=h+d,b=h<0||m<0,_=d>0||m>0;return b?n-1:_?n+1:-1},e.prototype.findAdjacentTabIndexClosestToEdgeRTL=function(n,r,s,c,h){var d=h-r.rootLeft-c-s,m=h-r.rootRight-s,b=d+m,_=d>0||b>0,v=m<0||b<0;return _?n+1:v?n-1:-1},e.prototype.getKeyFromEvent=function(n){return Ip.has(n.key)?n.key:Lp.get(n.keyCode)},e.prototype.isActivationKey=function(n){return n===Na.SPACE_KEY||n===Na.ENTER_KEY},e.prototype.indexIsInRange=function(n){return n>=0&&n<this.adapter.getTabListLength()},e.prototype.isRTL=function(){return this.adapter.isRTL()},e.prototype.scrollIntoViewImpl=function(n){var r=this.adapter.getScrollPosition(),s=this.adapter.getOffsetWidth(),c=this.adapter.getTabDimensionsAtIndex(n),h=this.findAdjacentTabIndexClosestToEdge(n,c,r,s);if(this.indexIsInRange(h)){var d=this.calculateScrollIncrement(n,h,r,s);this.adapter.incrementScroll(d)}},e.prototype.scrollIntoViewImplRTL=function(n){var r=this.adapter.getScrollPosition(),s=this.adapter.getOffsetWidth(),c=this.adapter.getTabDimensionsAtIndex(n),h=this.adapter.getScrollC
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462,m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function w3(u){let e,n,r;return n=new dn({props:{$$slots:{default:[$3]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function N3(u){let e,n,r;return{c(){e=i("h3"),n=p("Scientific Aim"),r=p(` 463 464 The project sets out to accomplish a data-driven study in 465 musical interpretation, connecting information from human 466 analyses of a number of performances by Karajan, with 467 algorithmically derived data spanning several decades of 468 recordings. Although the project is conceived as a case 469 study on Karajan, we wish to demonstrate the promise of 470 data-intensive, interdisciplinary approaches to 471 musicological studies of expressive performance, and help in 472 establishing this as a new open standard approach in 473 empirical musicology.`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,"Scientific Aim"),c.forEach(a),r=g(s,` 474 475 The project sets out to accomplish a data-driven study in 476 musical interpretation, connecting information from human 477 analyses of a number of performances by Karajan, with 478 algorithmically derived data spanning several decades of 479 recordings. Although the project is conceived as a case 480 study on Karajan, we wish to demonstrate the promise of 481 data-intensive, interdisciplinary approaches to 482 musicological studies of expressive performance, and help in 483 establishing this as a new open standard approach in 484 empirical musicology.`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function C3(u){let e,n;return e=new fn({props:{$$slots:{default:[N3]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)},m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function B3(u){let e,n,r;return n=new dn({props:{$$slots:{default:[C3]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function O3(u){let e,n,r;return{c(){e=i("h3"),n=p("Innovative aspects"),r=p(` 485 Our approach goes beyond already existing projects (e.g. the 486 âMazurka Projectâ as the first large scale project of this sort) 487 in that we focus for the first time exclusively on orchestral 488 music conducted by a specific performance artist. In addition 489 to musicological and computational research results, the project 490 has access to a unique collection of largely unpublished music 491 and extra-musical sources (hosted by the Eliette and Herbert 492 von Karajan Institute, Salzburg).`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,"Innovative aspects"),c.forEach(a),r=g(s,` 493 Our approach goes beyond already existing projects (e.g. the 494 âMazurka Projectâ as the first large scale project of this sort) 495 in that we focus for the first time exclusively on orchestral 496 music conducted by a specific performance artist. In addition 497 to musicological and computational research results, the project 498 has access to a unique collection of largely unpublished music 499 and extra-musical sources (hosted by the Eliette and Herbert 500 von Karajan Institute, Salzburg).`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function K3(u){let e,n;return e=new fn({props:{$$slots:{default:[O3]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)}
500,m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function D3(u){let e,n,r;return n=new dn({props:{$$slots:{default:[K3]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function G3(u){let e,n,r;return{c(){e=i("h3"),n=p("Methods"),r=p(` 501 502 First of all, we focus on a comparative analysis of 503 Karajanâs interpretations of the same composition from 504 different time periods, following by a comparative analyses 505 of tempi, articulation and orchestral balance in selected 506 performances of orchestral works by Karajan and other 507 contemporary conductors (using tools like Sonic Visualiser 508 to pinpoint and visualize musically relevant passages and 509 performance characteristics). Secondly, we concentrate on 510 the aesthetic perception of a specific âKarajan profileâ as 511 conductor and media-artist. Moreover, we seek to develop 512 some new methods for aligning performances to scores, and 513 performances to alternative performances, to support 514 performance (timing) analysis and comparative analysis of 515 recordings.`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,"Methods"),c.forEach(a),r=g(s,` 516 517 First of all, we focus on a comparative analysis of 518 Karajanâs interpretations of the same composition from 519 different time periods, following by a comparative analyses 520 of tempi, articulation and orchestral balance in selected 521 performances of orchestral works by Karajan and other 522 contemporary conductors (using tools like Sonic Visualiser 523 to pinpoint and visualize musically relevant passages and 524 performance characteristics). Secondly, we concentrate on 525 the aesthetic perception of a specific âKarajan profileâ as 526 conductor and media-artist. Moreover, we seek to develop 527 some new methods for aligning performances to scores, and 528 performances to alternative performances, to support 529 performance (timing) analysis and comparative analysis of 530 recordings.`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function H3(u){let e,n;return e=new fn({props:{$$slots:{default:[G3]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)},m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function J3(u){let e,n,r;return n=new dn({props:{$$slots:{default:[H3]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function W3(u){let e,n,r,s,c,h,d,m;return e=new cn({props:{$$slots:{default:[w3]},$$scope:{ctx:u}}}),r=new cn({props:{$$slots:{default:[B3]},$$scope:{ctx:u}}}),c=new cn({props:{$$slots:{default:[D3]},$$scope:{ctx:u}}}),d=new cn({props:{span:8,$$slots:{default:[J3]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment),n=z(),W(r.$$.fragment),s=z(),W(c.$$.fragment),h=z(),W(d.$$.fragment)},l(b){V(e.$$.fragment,b),n=k(b),V(r.$$.fragment,b),s=k(b),V(c.$$.fragment,b),h=k(b),V(d.$$.fragment,b)},m(b,_){F(e,b,_),P(b,n,_),F(r,b,_),P(b,s,_),F(c,b,_),P(b,h,_),F(d,b,_),m=!0},p(b,_){const v={};_&1&&(v.$$scope={dirty:_,ctx:b}),e.$set(v);const E={};_&1&&(E.$$scope={dirty:_,ctx:b}
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583 following steps.`),S.forEach(a),h=k(M),d=o(M,"P",{});var A=l(d);m=g(A,`B) Checking and documentation of different repeat 584 structures in this large set of recordings; manual 585 annotation of sections, structure matching.`),A.forEach(a),b=k(M),_=o(M,"P",{});var R=l(_);v=g(R,`C) Semi-automatic transfer of annotations from Karajan 586 reference set to other recordings via automatic 587 audio-to-audio alignment and extensive plausibility 588 checking.`),R.forEach(a),E=k(M),y=o(M,"P",{});var $=l(y);I=g($,"D) Transfer to Open Music Annotations (OMA) Database."),$.forEach(a)},m(M,T){P(M,e,T),t(e,n),P(M,r,T),P(M,s,T),t(s,c),P(M,h,T),P(M,d,T),t(d,m),P(M,b,T),P(M,_,T),t(_,v),P(M,E,T),P(M,y,T),t(y,I)},p:Se,d(M){M&&a(e),M&&a(r),M&&a(s),M&&a(h),M&&a(d),M&&a(b),M&&a(_),M&&a(E),M&&a(y)}}}function Y3(u){let e,n;return e=new fn({props:{$$slots:{default:[X3]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)},m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function Q3(u){let e,n,r;return n=new dn({props:{$$slots:{default:[Y3]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function x3(u){let e,n,r;return{c(){e=i("h3"),n=p("Reconstruction of the aesthetics of music-films"),r=p(` 589 590 Gaining a deeper understanding of Karajanâs visual 591 aesthetics by an analysis of his music films with both 592 quantitative and qualitative methods, starting with his 593 early films (1964-71) and leading to later, partly more 594 complex productions.`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,"Reconstruction of the aesthetics of music-films"),c.forEach(a),r=g(s,` 595 596 Gaining a deeper understanding of Karajanâs visual 597 aesthetics by an analysis of his music films with both 598 quantitative and qualitative methods, starting with his 599 early films (1964-71) and leading to later, partly more 600 complex productions.`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function ez(u){let e,n;return e=new fn({props:{$$slots:{default:[x3]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)},m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function tz(u){let e,n,r;return n=new dn({props:{$$slots:{default:[ez]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function nz(u){let e,n,r;return{c(){e=i("h3"),n=p("Analyses of selected performances"),r=p(` 601 602 Both by a careful use of technically extracted audio 603 features and by close listening, many aspects of musical 604 performance have been addressed, such as timing/tempo, 605 formal-dramaturgical shaping, timbre, dynamics, prominence 606 of melodic lines, accentuation, legato playing, sound 607 transformations, and considerations of 608 orchestral-instrumental balance and disposition.`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,"Analyses of selected performances"),c.forEach(a),r=g(s,` 609 610 Both by a careful use of technically extracted audio 611 features and by close listening, many aspects of musical 612 performance have been addressed, such as timing/tempo, 613 formal-dramaturgical shaping, timbre, dynamics, prominence 614 of melodic lines, accentuation, legato playing, sound 615 transformations, and considerations of 616 orchestral-instrumental balance and disposition.`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function rz(u){let e,n;return e=new fn({props:{$$slots:{default:[nz]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)}
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704,m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function Sz(u){let e,n,r;return n=new dn({props:{$$slots:{default:[bz]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function Ez(u){let e,n,r;return{c(){e=i("h3"),n=p(`A statistical model to obtain a quantitative measure 705 local imprecision.`),r=p(` 706 707 Based on the results (see above, p. 2) we proposed a new 708 statistical method of estimating local annotation accuracy, 709 using the concept of pooling, which gives more reliable 710 estimates of local variance between annotators. This is also 711 relevant with a view to transferring this information to 712 data derived from such annotations (e.g., tempo curves).`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,`A statistical model to obtain a quantitative measure 713 local imprecision.`),c.forEach(a),r=g(s,` 714 715 Based on the results (see above, p. 2) we proposed a new 716 statistical method of estimating local annotation accuracy, 717 using the concept of pooling, which gives more reliable 718 estimates of local variance between annotators. This is also 719 relevant with a view to transferring this information to 720 data derived from such annotations (e.g., tempo curves).`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function zz(u){let e,n;return e=new fn({props:{$$slots:{default:[Ez]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)},m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function kz(u){let e,n,r;return n=new dn({props:{$$slots:{default:[zz]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function Az(u){let e,n,r;return{c(){e=i("h3"),n=p(`New methods for improving alignment robustness by 721 combining DTW with robust statistical methods.`),r=p(` 722 723 Two robust combination algorithms based on median filtering 724 and local spline fitting (regression) were developed and 725 experimentally validated on orchestral music of different 726 styles recorded by different conductors. (Grachten / Chacón 727 / Gadermaier 2019)`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,`New methods for improving alignment robustness by 728 combining DTW with robust statistical methods.`),c.forEach(a),r=g(s,` 729 730 Two robust combination algorithms based on median filtering 731 and local spline fitting (regression) were developed and 732 experimentally validated on orchestral music of different 733 styles recorded by different conductors. (Grachten / Chacón 734 / Gadermaier 2019)`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function yz(u){let e,n;return e=new fn({props:{$$slots:{default:[Az]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)},m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function Mz(u){let e,n,r;return n=new dn({props:{$$slots:{default:[yz]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);
734V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function Pz(u){let e,n,r,s,c,h,d,m;return e=new cn({props:{span:3,$$slots:{default:[vz]},$$scope:{ctx:u}}}),r=new cn({props:{span:3,$$slots:{default:[Sz]},$$scope:{ctx:u}}}),c=new cn({props:{span:3,$$slots:{default:[kz]},$$scope:{ctx:u}}}),d=new cn({props:{span:3,$$slots:{default:[Mz]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment),n=z(),W(r.$$.fragment),s=z(),W(c.$$.fragment),h=z(),W(d.$$.fragment)},l(b){V(e.$$.fragment,b),n=k(b),V(r.$$.fragment,b),s=k(b),V(c.$$.fragment,b),h=k(b),V(d.$$.fragment,b)},m(b,_){F(e,b,_),P(b,n,_),F(r,b,_),P(b,s,_),F(c,b,_),P(b,h,_),F(d,b,_),m=!0},p(b,_){const v={};_&1&&(v.$$scope={dirty:_,ctx:b}),e.$set(v);const E={};_&1&&(E.$$scope={dirty:_,ctx:b}),r.$set(E);const y={};_&1&&(y.$$scope={dirty:_,ctx:b}),c.$set(y);const I={};_&1&&(I.$$scope={dirty:_,ctx:b}),d.$set(I)},i(b){m||(w(e.$$.fragment,b),w(r.$$.fragment,b),w(c.$$.fragment,b),w(d.$$.fragment,b),m=!0)},o(b){N(e.$$.fragment,b),N(r.$$.fragment,b),N(c.$$.fragment,b),N(d.$$.fragment,b),m=!1},d(b){j(e,b),b&&a(n),j(r,b),b&&a(s),j(c,b),b&&a(h),j(d,b)}}}function Tz(u){let e,n,r;return{c(){e=i("h3"),n=p("Reconstruction of the Aesthetics of Music-films"),r=p(` 735 736 Our analyses showed that Karajanâs film aesthetics was 737 influenced by different approaches and film makers (esp. 738 Clouzot and Niebeling), especially regarding his use of 739 camera settings and scene changes (cuts, fading, overlays, 740 etc.), and that the style of his movies did not change 741 significantly after about 1973. It also became clear that 742 the common opinion that Karajan would mainly stage himself 743 in his movies can no longer be upheld, since the 744 quantitative evaluation shows that in only ~15% of his 745 moviesâ screentime he is shown completely alone. This has 746 been demonstrated in detail by the first substantial 747 musicological analysis of the movie for Berliozâ Symphonie 748 fantastique. (Hebenstreit 2023)`)},l(s){e=o(s,"H3",{});var c=l(e);n=g(c,"Reconstruction of the Aesthetics of Music-films"),c.forEach(a),r=g(s,` 749 750 Our analyses showed that Karajanâs film aesthetics was 751 influenced by different approaches and film makers (esp. 752 Clouzot and Niebeling), especially regarding his use of 753 camera settings and scene changes (cuts, fading, overlays, 754 etc.), and that the style of his movies did not change 755 significantly after about 1973. It also became clear that 756 the common opinion that Karajan would mainly stage himself 757 in his movies can no longer be upheld, since the 758 quantitative evaluation shows that in only ~15% of his 759 moviesâ screentime he is shown completely alone. This has 760 been demonstrated in detail by the first substantial 761 musicological analysis of the movie for Berliozâ Symphonie 762 fantastique. (Hebenstreit 2023)`)},m(s,c){P(s,e,c),t(e,n),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function Iz(u){let e,n;return e=new fn({props:{$$slots:{default:[Tz]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)},m(r,s){F(e,r,s),n=!0},p(r,s){const c={};s&1&&(c.$$scope={dirty:s,ctx:r}),e.$set(c)},i(r){n||(w(e.$$.fragment,r),n=!0)},o(r){N(e.$$.fragment,r),n=!1},d(r){j(e,r)}}}function Lz(u){let e,n,r;return n=new dn({props:{$$slots:{default:[Iz]},$$scope:{ctx:u}}}),{c(){e=i("div"),W(n.$$.fragment),this.h()},l(s){e=o(s,"DIV",{class:!0});var c=l(e);V(n.$$.fragment,c),c.forEach(a),this.h()},h(){f(e,"class","demo-cell svelte-ap74h9")},m(s,c){P(s,e,c),F(n,e,null),r=!0},p(s,c){const h={};c&1&&(h.$$scope={dirty:c,ctx:s}),n.$set(h)},i(s){r||(w(n.$$.fragment,s),r=!0)},o(s){N(n.$$.fragment,s),r=!1},d(s){s&&a(e),j(n)}}}function Rz(u){let e,n,r;return{c(){e=i("img"),r=p(` 763 764 Karajan dimly lit and in profile view in his music film of 765 Hector Berlioâs Symphonie fantastique (1970/71). Taken from 766 Hebenstreit 2023, p. 250.]`),this.h()},l(s){e=o(s,"IMG",{style:!0,src:!0,alt:!0}),r=g(s,` 767 768 Karajan dimly lit and in profile view in his music film of 769 Hector Berlioâs Symphonie fantastique (1970/71). Taken from 770 Hebenstreit 2023, p. 250.]`),this.h()},h(){K(e,"width","100%"),Ws(e.src,n="/images/Abb_HEBENSTREIT.png")||f(e,"src",n),f(e,"alt","Film")},m(s,c){P(s,e,c),P(s,r,c)},p:Se,d(s){s&&a(e),s&&a(r)}}}function $z(u){let e,n;return e=new fn({props:{$$slots:{default:[Rz]},$$scope:{ctx:u}}}),{c(){W(e.$$.fragment)},l(r){V(e.$$.fragment,r)}
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822 conducted by Karajan, and that this artistic partnership 823 was even welcomed by him in that he relied on musicians 824 that were able to understand and share his artistic 825 concepts. This was not only true with regard to the 826 string section during his time in Berlin, but especially 827 to their concertmaster Michel Schwalbé. This relativizes 828 the popular concept of the conductor and especially 829 Karajan as a âphilharmonic autocratâ.`)},l(C){e=o(C,"H3",{});var U=l(e);n=g(U,"Results of performance analyses"),U.forEach(a),r=g(C,` 830 831 As for the research in Salzburg and Graz, the detailed and 832 comparative analysis with dozens of recordings per 833 composition, some common and widespread verdicts 834 (prejudices) concerning Karajanâ shaping of musical time and 835 sound were given a more differentiated treatment, among 836 others: 837 `),s=o(C,"P",{});var Z=l(s);c=g(Z,`A) The overly simplified image of a âconstantâ tempo for 838 an entire piece had to be dismissed early (considerable 839 expressive fluctuations are sometimes present even on 840 the level of the beat-patterns). Nevertheless, a 841 relatively homogenous tempo shaping has been observed in 842 many cases, particularly if compared to the recordings 843 of many contemporary conductors, which led to an empiric 844 reinforcement of that often-mentioned feature of 845 Karajanâs performances. (Wozonig 2020, 2022a, 2022b, 846 2023a)`),Z.forEach(a),h=k(C),d=o(C,"P",{});var G=l(d);m=g(G,`B) An important part of the project was the âBeethoven 847 Symphonies Annotation Corpusâ, a large set of temporal 848 annotations relating to the complete set of 9 Beethoven 849 Symphonies, as recorded by a number of different 850 orchestras and conductors. One of them (1962/63) was 851 annotated entirely manually; these annotations were than 852 mapped to the other recordings in a semi-automatic way, 853 relying on robust alignment algorithms. (Wozonig 2020)`),G.forEach(a),b=k(C),_=o(C,"P",{});var x=l(_);v=g(x,`C) Software Tools for finding structurally compatible 854 performances in a large corpus of recordings, and for 855 obtaining a visual overview of a given corpus. (Wozonig 856 2022b, 2023a)`),x.forEach(a),E=k(C),y=o(C,"P",{});var X=l(y);I=g(X,`D) It was demonstrated and visualized in selected 857 examples how the parameters sound and dynamics 858 contribute to Karajanâs shaping of certain dramaturgical 859 developments, e.g., to create an extended, formally 860 overarching intensification (see examples below)`),X.forEach(a),M=k(C),T=o(C,"P",{});var ie=l(T);S=g(ie,`E) Differentiation of the common view of Karajan as a 861 âslowâ conductor: It was demonstrated that whenever 862 Karajan conducts relatively slow tempi with regard to 863 performance history, this only applies to individual 864 parts of works. Through this, Karajan often aims for a 865 strong contrast between sections and, therefore, a 866 specific formal-dramaturgical shaping. A specific case 867 was highlighted by an analysis of Sibeliusâs First 868 Symphony, where it was demonstrated that Karajanâs 869 standalone rendition of the 2nd movement was actually 870 the result of an observance of the composerâs metronome 871 markings. (Aringer 2019, 2020a, 2020b, Wozonig 2022b)`),ie.forEach(a),A=k(C),R=o(C,"P",{});var ce=l(R);$=g(ce,`F) It was demonstrated that Karajanâs conception of a 872 musical work (e.g., basic tempo choices) was often 873 developed at an early stage, and that these conceptions 874 would only change gradually in the course his career. 875 Particularly revealing was the finding that if there 876 were bigger changes in later performances, they were 877 often connected to a stronger influence of Espressivo 878 elements.`),ce.forEach(a),q=k(C),O=o(C,"P",{});var H=l(O);L=g(H,`G) By an interdisciplinary reading of various sources, 879 we were able to show that the orchestra and individual 880 musicians played an important part in the performances
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1078 modernen Streichquartetts, Saarbrücken: Pfau, 2004.`),B=z(),D=i("li"),Q=i("p"),de=i("strong"),ue=p(`Joachim Brügge: Zum Personalstil W. A. Mozarts. 1079 Untersuchungen zu Modell und Typus, am Beispiel der 1080 "Kleinen Nachtmusik", KV 525 (=Taschenbücher zur 1081 Musikwissenschaft, 121), Wilhelmshaven: 1082 Heinrichshofen-Bücher, 1996.`),se=z(),fe=i("p"),_e=i("strong"),ge=p("Articles"),oe=z(),ee=i("p"),le=i("strong"),te=p("Music of the 18th century"),Me=z(),De=i("ol"),Ne=i("li"),Te=i("p"),Ye=i("strong"),Ue=p(`Joachim Brügge: Skizze: Charaktere, Physiognomien 1083 und Wahlverwandtschaften des 18. Jahrhunderts. 1084 Joseph Haydn zwischen Lawrence Sterne und George 1085 Washington, in: Eisenstädter Haydn-Berichte, 8, hg. 1086 von Walter Reicher und Christine Siegert, Schneider: 1087 Tutzing, 2013, S. 97-103.`),me=z(),$e=i("li"),re=i("p"),ve=i("strong"),Ie=p(`Joachim Brügge: Zum Problem der "Mehrfachlösungen" 1088 in den Kanons des Musikalischen Opfers. Eine 1089 kritische Studie zu Reinhard BöÃ, Die Kunst des 1090 Rätselkanons im Musikalischen Opfer, in: Neues 1091 Musikwissenschaftliches Jahrbuch, 3/1994, S. 81-101.`),Ge=z(),He=i("li"),pe=i("p"),ye=i("strong"),be=p(`Joachim Brügge: Joseph Haydn, op. 20, Nr. 2, 1092 Capriccio - eine Vorlagekomposition für W. A. 1093 Mozart, KV 171, I, in: Neues Musikwissenschaftliches 1094 Jahrbuch, 1/1992, S. 69-86.`),tt=z(),gt=i("li"),Qe=i("p"),Wt=i("strong"),ke=p(`Joachim Brügge: Johann Sebastian Bach, 1095 Musikalisches Opfer (BWV 1079): Bemerkungen zum 1096 "Canon a 2 per Tonos", in: Bach-Jahrbuch 1992, S. 1097 91-100.`),Ce=z(),nt=i("p"),bt=i("strong"),Ft=p("Mozart: reception"),ot=z(),ze=i("ol"),It=i("li"),dt=i("p"),jt=i("strong"),Je=p(`Joachim Brügge: W.A. Mozart, Eine Kleine 1098 Nachtmusik, KV 525, in einschlägigen 1099 Rezeptionskonstanten, in: Zwischen "Cultural 1100 heritage" und Konzertführer. W.A. Mozart, Eine 1101 Kleine Nachtmusik in den Medien, hg. von Joachim 1102 Brügge (=Klang-reden. Schriften zur 1103 Musikalischen Rezeptions- und 1104 Interpretationsgeschichte, 15), Freiburg i.Br.: 1105 Rombach, 2016, S. 17-45.`),An=z(),St=i("li"),Ee=i("p"),we=i("strong"),Ct=p(`Joachim Brügge: W.A. Mozart, Eine Kleine 1106 Nachtmusik, KV 525: Spurensuche im Internet, in: 1107 Zwischen "Cultural heritage" und Konzertführer. W.A. 1108 Mozart, Eine Kleine Nachtmusik in den Medien, hg. 1109 von Joachim Brügge (=Klang-reden. Schriften zur 1110 Musikalischen Rezeptions- und 1111 Interpretationsgeschichte, Bd. 15), Freiburg i.Br.: 1112 Rombach, 2016, S. 203-216.`),ft=z(),Et=i("li"),lt=i("p"),en=i("strong"),zt=p(`Joachim Brügge: "Mozart was crazy. Flat fucking 1113 crazy" - Mozart am Broadway 2010, in: Acta 1114 Mozartiana, 1/2 (Juli 2011), S. 71-74.`),tn=z(),kt=i("li"),Dn=i("p"),Lt=i("strong"),yn=p(`Joachim Brügge: Essay: Zur Rezeption der "Kleinen 1115 Nachtmusik" KV 525, in: Mozarts Orchesterwerke und 1116 Konzerte, hg. von Joachim Brügge und Claudia M. 1117 Knispel (=Das Mozart-Handbuch, 1), Laaber: 1118 Laaber, 2007, S. 471-475.`),Bt=z(),Mn=i("li"),nn=i("p"),At=i("strong"),Vt=p(`Joachim Brügge / Markus Frei-Hauenschild: Essay:
1119 Mozarts "Schwanengesang"? Zur Rezeption der 1120 Es-Dur-Sinfonie im frühen 19. Jhdt., in: Mozarts 1121 Orchesterwerke und Konzerte, hg. von Joachim Brügge 1122 und Claudia M. Knispel (=Das 1123 Mozart-Handbuch, 1), Laaber: Laaber, 2007, 1124 S. 543-547.`),hn=z(),Pn=i("li"),pn=i("p"),Ze=i("strong"),Ot=p(`Joachim Brügge: Zur Mozartrezeption bei Stefan 1125 Zweig, in: Auf eigenem Terrain. Beiträge zur 1126 Salzburger Musikgeschichte. Festschrift Gerhard 1127 Walterskirchen zum 65. 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Von der 1177 Sonate zur Intertextualität, in: Klavier-  und 1178 Kammermusik, hg. von Matthias Schmidt (= Das Mozart 1179 Handbuch, 2), Laaber: Laaber, 2006, S. 109-163.`),ta=z(),Dt=i("li"),xn=i("p"),Sn=i("strong"),ns=p(`Joachim Brügge: Perspektiven und Grenzen von "Typus 1180 und Modell" für die Mozartforschung, in: 1181 Motart-Jahrbuch 2001, S. 19-32.`),Le=z(),Mr=i("li"),er=i("p"),Fr=i("strong"),hr=p(`Joachim Brügge: Bemerkungen zu Peter Gülkes 1182 "Triumph der neuen Tonkunst", in: Acta Mozartiana, 1183 46. Jg., Heft 3/4 (Dezember 1999), S. 113-123.`),va=z(),pr=i("li"),Or=i("p"),gr=i("strong"),jr=p(`Joachim Brügge: Opera incerta im Werk W. A. 1184 Mozarts: Das Flötenquartett C-Dur, KV 285b, in: 1185 Mozart-Studien, Bd. 7, hg. von Manfred Hermann 1186 Schmid, Tutzing: Hans Schneider, 1997, S. 199-217.`),_a=z(),Oe=i("li"),Xe=i("p"),mr=i("strong"),Ma=p(`Joachim Brügge: Typus und Modell in den 1187 Klaviersonaten W. A. Mozarts, in: 1188 Mozart-Studien 3, hg. von Manfred Hermann 1189 Schmid, Tutzing: Hans Schneider, 1993, S. 1-47.`),je=z(),Vr=i("p"),na=i("strong"),Ur=p("Mozart: philological aspects"),Ba=z(),Gt=i("ol"),Pa=i("li"),vr=i("p"),ra=i("strong"),Kr=p(`Joachim Brügge: Alfred Einsteins letzter Brief? In: 1190 Acta Mozartiana, 56/1 (2009), S. 69-76.`),Is=z(),Fe=i("li"),Yt=i("p"),ba=i("strong"),js=p(`Joachim Brügge: Ausgesuchte Aspekte zu den 1191 Werkautographen, am Beispiel von KV 458 I, und den 1192 Skizzen und Fragmenten im Umfeld der 1193 "Haydn-Quartette" Mozarts, in: Motart-Jahrbuch 2001, 1194 S. 345-354.`),Vs=z(),Mt=i("li"),Qt=i("p"),aa=i("strong"),sa=p(`Joachim Brügge: Bemerkungen zu Roger Lustig, On the 1195 Flute Quartet, K. Anh. 171 (285b), in: 1196 Mozart-Studien 10, hg. von Manfred Hermann 1197 Schmid, Tutzing: Hans Schneider, 2001, S. 65-79.`),Us=z(),ia=i("p"),rs=i("strong"),Oa=p("Instrumental music of the 19th and 20th century"),as=z(),Dr=i("ol"),Ka=i("li"),oa=i("p"),Pi=i("strong"),Zs=p(`Joachim Brügge: Tendenzen der Kammermusik von Jean 1198 Sibelius, in: Facetten I: Symposien zur Kammermusik 1199 von Jean Sibelius, zum Liederkomponisten Max 1200 Kowalski und zur Liszt-Rezeption, hg. von Joachim 1201 Brügge (=Musikwissenschaftliche Schriften der 1202 Hochschule für Musik und Theater München, 6), 1203 Tutzing: Schneider, 2014, S. 21-23.`),Ke=z(),Pe=i("li"),qs=i("p"),Ta=i("strong"),lo=p("Werkartikel im Brahms-Handbuch:"),co=z(),Da=i("p"),En=i("strong"),Ls=p(`-Joachim Brügge: J. Brahms, Orchesterserenade op. 11, in: 1204 Johannes Brahms. Interpretationen seiner Werke, 1, hg. 1205 von Claus Bockmaier und Siegfried Mauser, Laaber
1205: Laaber, 1206 2013, S. 77-81.`),Xs=z(),Ys=i("p"),ss=i("strong"),uo=p(`-Joachim Brügge: J. Brahms, Orchesterserenaden op. 16, in: 1207 Johannes Brahms. Interpretationen seiner Werke 1, hg. 1208 von Claus Bockmaier und Siegfried Mauser, Laaber: Laaber, 1209 2013, S. 109-113.`),Qs=z(),is=i("p"),os=i("strong"),fo=p(`-Joachim Brügge: J. Brahms, Klaviertrio op. 87, in: 1210 Johannes Brahms. Interpretationen seiner Werke 2, hg. 1211 von Claus Bockmaier und Siegfried Mauser, Laaber: Laaber, 1212 2013, S. 625-629.`),xs=z(),ls=i("p"),cs=i("strong"),ho=p(`-Joachim Brügge: J. Brahms, Klaviertrio op. 101, in: 1213 Johannes Brahms. Interpretationen seiner Werke 2, hg. 1214 von Claus Bockmaier und Siegfried Mauser, Laaber: Laaber, 1215 2013, S. 732-736.`),ei=z(),us=i("p"),ds=i("strong"),po=p(`-Joachim Brügge: J. Brahms, Streichquintett in G-Dur, op. 1216 111, in: Johannes Brahms. Interpretationen seiner 1217 Werke 2, hg. von Claus Bockmaier und Siegfried Mauser, 1218 Laaber: Laaber, 2013, S. 810-815.`),go=z(),Ia=i("p"),_r=i("strong"),Rs=p(`-Joachim Brügge: J. Brahms, Hymne für zwei Violinen, 1219 Kontrabass oder Violoncello A-Dur. Anhang III,  Nr. 1, 1220 in: Johannes Brahms. Interpretationen seiner Werke 2, 1221 hg. von Claus Bockmaier und Siegfried Mauser, Laaber: 1222 Laaber, 2013, S. 1026-1027.`),ti=z(),ni=i("ol"),Ga=i("li"),ri=i("p"),fs=i("strong"),mo=p(`Joachim Brügge: Kabinettstückchen im Klavierkanon - 1223 Muzio Clementi: Canone (Gradus ad Parnassum II, 1224 1828) und Edvard Grieg: Canon a 4 voci (1860), in: 1225 Studia Musicologica Norvegica 37 (2011), S. 75-82.`),ai=z(),hs=i("p"),ps=i("strong"),vo=p(" "),si=z(),ii=i("p"),gs=i("strong"),_o=p("New Music in the 20th century"),bo=z(),Ht=i("ol"),tr=i("li"),Sa=i("p"),ms=i("strong"),So=p(`Joachim Brügge: Wolfgang Rihm, Psychogramm einer 1226 inneren Krise. Wolfgang Rihm "Jakob Lenz", 1227 Kammeroper Nr. 2 (1977/78), in: ÃMZ 5 (Mai 2008), 1228  S. 16-20.`),oi=z(),li=i("li"),Ha=i("p"),Ti=i("strong"),vs=p(`Joachim Brügge: Visuelle Metaphern als ästhetische 1229 Legitimation in der Neuen Musik. Zu Wolfgang Rihm, 1230 Jörg Widmann, Andre Ruschkowski, in: Bildmusik. 1231 Gerhard Rühm und die Kunst der Gegenwart, hg. von 1232 Joachim Brügge, Wolfgang Gratzer und Otto Neumaier, 1233 Saarbrücken: Pfau, 2007, S. 72-81.`),Eo=z(),Ja=i("li"),ci=i("p"),_s=i("strong"),zo=p(`Joachim Brügge: Wolfgang Rihm, Vers une Symphonie 1234 fleuve I-V (1995-2000). Fragen zu formalen, 1235 gattungsspezifischen und ästhetischen Aspekten, in: 1236 Musik-Konzepte. Sonderband Wolfgang Rihm, hg. von 1237 Ulrich Tadday, München: Text+Kritik, 2004, S. 1238 109-127.`),Wa=z(),ui=i("li"),di=i("p"),$s=i("strong"),zn=p(`Joachim Brügge: "Kanoniker" wider Willen? Gedanken 1239 über und Fragen an Wolfgang Rihm, in: Positionen 58 1240 (Februar 2004), S. 30-32.`),ws=z(),Fa=i("li"),fi=i("p"),bs=i("strong"),ko=p(`Joachim Brügge: Am Ende des Jahrhunderts. Tendenzen 1241 der Entwicklung nach 1975, in: Friedhelm Krummacher, 1242 Das Streichquartett. Teilband 2: Von Mendelssohn bis 1243 zur Gegenwart (=Handbuch der musikalischen 1244 Gattungen, 6/II), Laaber: Laaber, 2003, S. 1245 485-494.`),hi=z(),pi=i("li"),ja=i("p"),Ns=i("strong"),gi=p(`Joachim Brügge: Wolfgang Rihms Vertonungen der 1246 Karoline von Günderrode, Das Rot (1990
1246), in: Neues 1247 Musikwissenschaftliches Jahrbuch 10 (2001), S. 1248 169-176.`),Ao=z(),wt=i("li"),Ss=i("p"),Es=i("strong"),yo=p(`Joachim Brügge: Zur Form und Ãsthetik in Wolfgang 1249 Rihms 3. Streichquartett, "Im Innersten"(1976), in: 1250 Die Musikforschung 2 (1999), S. 178-189.`),Ii=z(),zs=i("li"),kn=i("p"),Va=i("strong"),mi=p(`Joachim Brügge: Analyse: André Ruschkowski, 1251 Karabontara. Komposition für Klavier und 1252 4-Kanal-Tonband (1996), in: Neues 1253 Musikwissenschaftliches Jahrbuch 7 (1998), S. 1254 229-246.`),Mo=z(),Ua=i("p"),El=i("strong"),Li=p("Theory of science / Methodological discourse"),Gc=z(),vi=i("p"),zl=i("strong"),Po=p("Intertextuality  "),Hc=z(),la=i("ol"),Ri=i("li"),_i=i("p"),kl=i("strong"),To=p(`Joachim Brügge: Wolfgang Rihm, Jagden und Formen 1255 (1995/2001, Zustand 2008) â im Konflikt 1256 hermeneutischer Perspektiven aus âproliferationâ, 1257 âÃbermalungâ, âIntertextualitätâ und âCollageâ, in: 1258 Arbeit am Werk, hg. von Wolfgang Gratzer und Otto 1259 Neumaier (=Klang-reden. Schriften zur Musikalischen 1260 Rezeptions- und Interpretationsgeschichte, 9), 1261 Freiburg i.Br.: Rombach, 2011, S. 183-200.`),Jc=z(),bi=i("li"),Io=i("p"),Al=i("strong"),$d=p(`Joachim Brügge: Intertextualität als Thema der 1262 Mozartforschung, in: Mozart neu entdecken. 1263 Theoretische Interpretationen seines Werks, hg. von 1264 Gernot Gruber und Siegfried Mauser, Laaber: Laaber, 1265 2012, S. 245-255.`),Za=z(),Gi=i("li"),Lo=i("p"),wd=i("strong"),Wc=p(`Joachim Brügge: Zwischen Einzel- und 1266 Systemtextreferenz? Intertextualität als formale 1267 Dramaturgie in Franz Schuberts "Fantasie in C für 1268 Violine und Klavier", D 934, in: Schubert: 1269 Perspektiven, 2009, S. 43-59.`),Ah=z(),Ro=i("li"),Fc=i("p"),yl=i("strong"),yh=p(`Joachim Brügge: Intertextualität als Problem: zum 1270 Finale von Mozarts D-Dur- Quintett, KV 593, und 1271 "Jupitersymphonie", KV 551 IV, in: Analecta 1272 Musicologica, LXVIII/I (Januar-Juli 1996), S. 1-11.`),jc=z(),Vc=i("p"),Ml=i("strong"),Mh=p("Ethnological contribution"),Uc=z(),Zc=i("ol"),$o=i("li"),qc=i("p"),Nd=i("strong"),Cd=p(`Joachim Brügge: Der Ãdipusmythos in der Deutung von 1273 Claude Lèvi-Strauss. Ein vielgescholtener Klassiker 1274 gibt Anlaà zum Nachdenken, in: Anthropos 1 1275 (Halbband März 1998), S. 197-202.`),Si=z(),Hi=i("p"),Pl=i("strong"),Ph=p(" "),Xc=z(),Yc=i("p"),Tl=i("strong"),Th=p(`Postmodernism 1276                                                                                                                                                                                                             `),Qc=z(),Il=i("ol"),wo=i("li"),xc=i("p"),eu=i("strong"),mc=p(`Joachim Brügge: Edvard Griegs Mozartbearbeitungen - 1277 ein früher Modellfall aus postmoderner 1278 Ãberschreibungsästhetik und Bloomschen Misreading?, 1279 in: Musikgeschichte als Verstehensgeschichte. 1280 Festschrift Gernot Gruber, hg. von Joachim Brügge, 1281 Franz Födermayr, Wolfgang Gratzer, Thomas Hochradner 1282 und Siegfried Mauser, Tutzing: Schneider, 2004, S. 1283 411-420.`),Ih=z(),vc=i("li"),Ji=i("p"),Ll=i("strong"),Lh=p(`Joachim Brügge: Gödel, Escher, Bach - oder ein 1284 endlos knebelndes Band. Ein Nekrolog auf die 1285 Ãsthetik der Postmoderne, in: Der Diskurs des 1286 Möglichen. Musik zwischen Kunst, Wissenschaft und 1287 Pädagogik. Festschrift Wolfgang Roscher zum 70. 1288 Geburtstag, hg. von Peter Maria Krakauer u. a. (= 1289 Wort und Musik. Salzburger Akademische Beiträge, 1290 36), Anif/Salzburg: Müller-Speiser, 1999, S. 1291 114-131.`),oh=z(),xe=i("p"),_c=i("strong"),No=p("Sonata form"),bc=z(),Co=i("ol"),tu=i("li"),Bo=i("p"),Bd=i("strong"),Rh=p(`Joachim Brügge: Ausgewählte Aspekte zur Diskussion 1292 der Sonatensatzformen im 18. und frühen 19.
1293 Jahrhundert, in: "Musikkonzepte -Konzepte der 1294 Musikwissenschaft", Bericht über den Internationalen 1295 Kongreà der Gesellschaft für Musikforschung Halle 1296 (Saale) 1998, Bd. 2: Freie Referate, hg. von Kathrin 1297 Eberl und Wolfgang Ruf, Kassel [u. a.]: 1298 Bärenreiter, 2000, S. 404-410.`),Od=z(),ks=i("p"),Oo=i("strong"),nu=p("Viennese School"),$h=z(),$i=i("ol"),ru=i("li"),Ko=i("p"),Kd=i("strong"),au=p(`Joachim Brügge: "Drama und Diskurs" - oder immer 1299 das "Ganze vor Augen": Musikalische Logik als 1300 Kategorie der Wiener Klassik? In: Aspekte der 1301 Haydn-Rezeption. Beiträge der gleichnamigen Tagung 1302 vom 20.-22. November 2009, hg. von Joachim Brügge 1303 und Ulrich Leisinger (=Klang-reden, 6), Freiburg 1304 i.Br.: Rombach, 2011 , S. 197-209.`),wh=z(),su=i("li"),Rl=i("p"),wi=i("strong"),Sc=p(`Joachim Brügge: Zum Begriff der "Wiener Klassik" 1305 vor dem Hintergrund ausgesuchter Probleme der 1306 Mozartforschung, in: "Wiener Klassik". Ein 1307 musikgeschichtlicher Begriff in Diskussion (=Wiener 1308 Musikwissenschaftliche Beiträge, 21), Wien: 1309 Böhlau, 2002, S. 105-110.`),iu=z(),ou=i("p"),$l=i("strong"),Nh=p("Diverse"),Ch=z(),Gr=i("ol"),qa=i("li"),Wi=i("p"),wl=i("strong"),Bh=p(`Joachim Brügge: Contraintes et musique - oder: Vom 1310 Krebskanon zur One-Note-Samba? Immer diese leidigen 1311 Universalien ..., in: Nach allen Regeln der Kunst. 1312 Werke und Studien zur Literatur-, Kunst- und 1313 Musikproduktion. Für Peter Kuon zum 60. Geburtstag, 1314 hg. von Kathrin Ackermann und Susanne Winter 1315 (=Austria: Forschung und Wissenschaft. Literatur- 1316 und Sprachwissenschaft, 23), Münster: LIT, 2013, S. 1317 151-163.`),lu=z(),cu=i("li"),Do=i("p"),Dd=i("strong"),uu=p(`Joachim Brügge: Stefan Zweig, C.G. Jung und die 1318 Kulturgeschichte des Schachs - vom indischen 1319 Tschaturanga zur modernen Alchemie des 20. 1320 Jahrhunderts, in: Das Buch als Eingang zur Welt, hg. 1321 von Joachim Brügge (=Schriftenreihe des "Stefan 1322 Zweig Centre Salzburg", 1), Würzburg: Königshausen 1323 & Neumann, 2008, S. 95-106.`),Oh=z(),Go=i("li"),du=i("p"),Gd=i("strong"),Hd=p(`Joachim Brügge: Zum Begriff der "Unbekannten 1324 Kulturlandschaften", in: Kulturstereotype  und 1325 Unbekannte Kulturlandschaften am Beispiel von 1326 Amerika und Europa, hg. von Joachim Brügge und 1327 Ulrike Kammerhofer-Aggermann (=Wort und Musik. 1328 Salzburger akademische Beiträge, 66), Anif/Salzburg: 1329 Müller-Speiser, 2007, S.15-17.`),Cs=z(),Fi=i("li"),Ho=i("p"),Jd=i("strong"),fu=p(`Joachim Brügge: Urbane Identität als mediale 1330 Konstruktion? Die Festspielstadt Salzburg als 1331 medialer Mythos zwischen Mozart und Sound of Music, 1332 in: Identität und Kreativität, hg. von Gabriele 1333 Hofmann (=Forum Musikpädagogik. Augsburger 1334 Schriften, 80), Augsburg: WiÃmer, 2007, S. 1335 19-25.`),Kh=z(),Jo=i("li"),hu=i("p"),Nl=i("strong"),Dh=p(`Joachim Brügge: Metamorphosenkonzept und 1336 Traditionen des 19. Jahrhunderts: Bemerkungen zu 1337 Richard Strauss "Metamorphosen". Studie für 23 1338 Solostreicher (o.op.142), in: Neues 1339 Musikwissenschaftliches Jahrbuch 2005, S. 119-129.`),pu=z(),gu=i("li"),Wo=i("p"),Wd=i("strong"),Gh=p(`Joachim Brügge: Musik als Sujet in aktuellen 1340 naturwissenschaftlich-kosmologischen Kontexten - am 1341 Beispiel der "DNA-Musik" und der 1342 "Superstrings"-Theorie, in: Gegen die Zeit. Roland 1343 Ploeger zum 75. Geburtstag, hg. von Birger
1344 Petersen-Mikkelsen und Andreas Pieper, Lübeck: 1345 Collegium Musica Nova Lubecensi, 2003, S. 1346 31-42.`),Fd=z(),Xa=i("li"),ji=i("p"),Cl=i("strong"),Hh=p(`Joachim Brügge / Roland Wohlfart / Silke Berdux: 1347 Eine unbekannte Orgeltabulatur des frühen 17. 1348 Jahrhunderts, in: Wolfenbütteler Beiträge. Aus den 1349 Schätzen der Herzog August Bibliothek, Bd. 8, hg. 1350 von Paul Raabe, Frankfurt a. M.: Klostermann, 1988, 1351 S. 245-271.`),mu=z(),vu=i("p"),Bl=i("strong"),Jh=p(`American music, popular music 1352                                                                                                                                                                `),_u=z(),ca=i("ol"),Fo=i("li"),bu=i("p"),jd=i("strong"),Vd=p(`Joachim Brügge: Bernard Herrmann: Dirigent, 1353 Komponist und Filmkomponist, in: Dirigenten als 1354 Komponisten, hg. von Wolfgang Gratzer und Alexander 1355 Drcár (Klang-reden, 16), Freiburg. i.Br.: 1356 Rombach, 2017, S. 243-255.`),Ni=z(),Vi=i("li"),jo=i("p"),Ud=i("strong"),Su=p(`Joachim Brügge: Formale und analytische Aspekte der 1357 Musik in My Fair Lady, in: My Fair Lady. Eine 1358 transdisziplinäre Einführung, hg. von Joachim Brügge 1359 und Sabine Coelsch-Foisner (=Wissenschaft und Kunst, 1360 16), Heidelberg: Universitätsverlag Winter, 2015, S. 1361 137-171.`),Wh=z(),Vo=i("li"),Eu=i("p"),Ol=i("strong"),Fh=p(`Joachim Brügge: Dramaturgische und formale Aspekte 1362 zu ausgesuchten Songs zu Singin´ in the Rain, in: 1363 Singin´ in the Rain. Kulturgeschichte eines 1364 Hollywood-Musical-Klassikers, hg. von Joachim Brügge 1365 und Nils Grosch (=Populäre Kultur und 1366 Musik, 14), Münster u.a.: Waxmann, 2014, S. 1367 152-164.`),jh=z(),Kl=i("li"),As=i("p"),Uo=i("strong"),zu=p(`Joachim Brügge: By George, she´s got it! Elizas 1368 "Jargon" in ausgesuchten deutschsprachigen 1369 Ãbersetzungen - die Wiener Inszenierung von 1969 und 1370 andere Mundartversionen von My Fair Lady, in: Die 1371 Rezeption des Broadwaymusicals in Deutschland, hg. 1372 von Nils Grosch und Elmar Juchem 1373 (=Veröffentlichungen der Kurt-Weill-Gesellschaft 1374 Dessau, 8), Münster: Waxmann, 2012, S. 77-93.`),Vh=z(),Zo=i("li"),ku=i("p"),Dl=i("strong"),Uh=p(`Joachim Brügge: Nord-amerikanische Musik als 1375 "Hochkultur"? Eine unbekannte Kulturlandschaft - am 1376 Beispiel von Samuel Barbers op. 11 (mit dem Adagio) 1377 u. a., in: Kulturstereotype und Unbekannte 1378 Kulturlandschaften: Amerika-Europa, hg. von Joachim 1379 Brügge und Ulrike Kammerhofer-Aggermann (=Wort und 1380 Musik.Salzburger akademische Beiträge, 66), 1381 Anif/Salzburg: Müller-Speiser, 2007, S. 127-142.`),Au=z(),yu=i("li"),Mu=i("p"),Ec=i("strong"),Bs=p(`Joachim Brügge: Stadt als Sujet im Musical. Vortrag 1382 zum Symposium Himmlisches Jerusalem, Modernes 1383 Babylon: Die Stadt als Sujet und Herausforderung des 1384 (Musik)Theaters, in: Mahagonny. Die Stadt als Sujet 1385 und Herausforderung des (Musik-)Theaters. Vorträge 1386 und Materialien des Salzburger Symposium 1998, hg. 1387 von Peter Csobádi u. a. (= Wort und Musik. 1388 Salzburger Akademische Beiträge, 44), Anif/ 1389 Salzburg: Müller-Speiser, 2000, S. 677-685.`),zc=z(
1389),qo=i("li"),Pu=i("p"),Gl=i("strong"),Zh=p(`Joachim Brügge: Das Musical "The Sound of Music" - 1390 Bemerkungen zur Musik und Gattungstypologie, in: 1391 "The Sound of Music", zwischen Mythos und Marketing. 1392 Geschichte und Rezeption, hg. von Ulrike 1393 Kammerhofer-Aggermann (= Salzburger Beiträge zur 1394 Volkskunde, 11), Salzburg: Selbstverlag des 1395 Salzburger Landesinstitutes für Volkskunde, 2000, S. 1396 223-235.`),Tu=z(),Iu=i("p"),Hl=i("strong"),qh=p("History of interpretation"),Lu=z(),La=i("ol"),Xo=i("li"),Ru=i("p"),Zd=i("strong"),qd=p(`Joachim Brügge: Dinu Lipatti und Frédéric Chopin, 1397 Barcarolle op. 60 - "wie unter Sternenlicht 1398 gespielt", in: Facetten II: Kleine Studien - Edition 1399 und Interpretation bei Chopin - Die Münchener Schule 1400 und Max Reger, hg. von Claus Bockmaier , München: 1401 Allitera, 2016, S. 23-28.`),Ci=z(),Ui=i("li"),Yo=i("p"),Xd=i("strong"),$u=p(`Joachim Brügge: Interpretation als Cover? Mozart in 1402 ausgesuchten Jazz-Einspielungen, in: Zur 1403 Interpretation von W.A. Mozarts Kammermusik, hg. von 1404 Joachim Brügge (=Klang-reden. Schriften zur 1405 Musikalischen Rezeptions- und 1406 Interpretationsgeschichte, 14), Freiburg i.Br.: 1407 Rombach, 2015, S. 239-249.`),Xh=z(),Qo=i("li"),wu=i("p"),Jl=i("strong"),Yh=p(`Joachim Brügge: Max Kowalski und seine Sänger, in: 1408 Facetten I: Symposien zur Kammermusik von Jean 1409 Sibelius, zum Liederkomponisten Max Kowalski und zur 1410 Liszt-Rezeption, hg. von Joachim 1411 Brügge (=Musikwissenschaftliche Schriften der 1412 Hochschule für Musik und Theater München, 6), 1413 Schneider: Tutzing, 2014, S. 205-212.`),Qh=z(),Wl=i("li"),ys=i("p"),xo=i("strong"),Nu=p(`Joachim Brügge: Von Richard Chamberlain zu den 1414 Carpenters: Wie They Long To Be Close To You ein Hit 1415 wurde - alles nur Strategien unterschiedlicher 1416 Soundkonzepte?, in: Coverstrategien in der 1417 Popularmusik nach 1960, hg. von Joachim Brügge 1418 (=Klang-reden. Schriften zur Musikalischen 1419 Rezeptions- und Interpretationsgeschichte, 11), 1420 Freiburg i.Br. 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1632h(a),qn=k(ae),Xn=o(ae,"P",{dir:!0});var $c=l(Xn);We=o($c,"STRONG",{});var _h=l(We);cr=g(_h,"- Ãbergreifende Fragestellungen, S. 3-10"),_h.forEach(a),$c.forEach(a),Aa=k(ae),$r=o(ae,"P",{dir:!0});var Ai=l($r);Jr=o(Ai,"STRONG",{});var Ad=l(Jr);vn=g(Ad,"- Einleitung (zu Sinfonien), S. 13-14"),Ad.forEach(a),Ai.forEach(a),Wr=k(ae),On=o(ae,"P",{dir:!0});var Vf=l(On);xr=o(Vf,"STRONG",{});var ug=l(xr);wr=g(ug,`- Einleitung (zu Blas-, Zupf- und Streichkonzerten), S. 1633 339-340`),ug.forEach(a),Vf.forEach(a),Nr=k(ae),ur=o(ae,"P",{dir:!0});var Uf=l(ur);at=o(Uf,"STRONG",{});var dg=l(at);ya=g(dg,`- Einleitung (zu Serenaden und Divertimenti, Tänze und 1634 Märsche), S. 441-443`),dg.forEach(a),Uf.forEach(a),ga=k(ae),kr=o(ae,"P",{dir:!0});var Zf=l(kr);$t=o(Zf,"STRONG",{});var fg=l($t);Cr=g(fg,`- Einleitung (Aspekte zur Rezeption der Instrumentalmusik 1635 Mozarts), S. 527-528`),fg.forEach(a),Zf.forEach(a),ut=k(ae),Br=o(ae,"P",{dir:!0});var yd=l(Br);_n=o(yd,"STRONG",{});var qf=l(_n);ea=g(qf,`in: Mozarts Orchesterwerke und Konzert, hg. von Joachim 1636 Brügge und Claudia M. Knispele (=Das Mozart-Handbuch, 1), 1637 Laaber: Laaber, 2007.`),qf.forEach(a),yd.forEach(a),ma=k(ae),Xt=o(ae,"OL",{start:!0});var yi=l(Xt);ln=o(yi,"LI",{dir:!0});var Xf=l(ln);dr=o(Xf,"P",{dir:!0});var hg=l(dr);Ar=o(hg,"STRONG",{});var Yf=l(Ar);ts=g(Yf,`Joachim Brügge: Aspekte der Zyklusbildung: Mozarts 1638 "Haydn-Quartette" zwischen Diskursivität und 1639 Affektivität, in: Mozart interdisziplinär. Beiträge 1640 aus den Salzburger Ringvorlesungen zum "Mozart-Jahr" 1641 2006, hg. von Gerhard Ammerer und Joachim Brügge 1642 (=Wort und Musik. Salzburger akademische Beiträge, 1643 63), Anif/Salzburg: Müller-Speiser, 2007, S. 60-72.`),Yf.forEach(a),hg.forEach(a),Xf.forEach(a),yr=k(yi),Yn=o(yi,"LI",{dir:!0});var pg=l(Yn);Qn=o(pg,"P",{dir:!0});var gg=l(Qn);fr=o(gg,"STRONG",{});var bh=l(fr);bn=g(bh,`Joachim Brügge: Die Klaviermusik Mozarts. Von der 1644 Sonate zur Intertextualität, in: Klavier-  und 1645 Kammermusik, hg. von Matthias Schmidt (= Das Mozart 1646 Handbuch, 2), Laaber: Laaber, 2006, S. 109-163.`),bh.forEach(a),gg.forEach(a),pg.forEach(a),ta=k(yi),Dt=o(yi,"LI",{dir:!0});var so=l(Dt);xn=o(so,"P",{dir:!0});var Md=l(xn);Sn=o(Md,"STRONG",{});var wc=l(Sn);ns=g(wc,`Joachim Brügge: Perspektiven und Grenzen von "Typus 1647 und Modell" für die Mozartforschung, in: 1648 Motart-Jahrbuch 2001, S. 19-32.`),wc.forEach(a),Md.forEach(a),so.forEach(a),Le=k(yi),Mr=o(yi,"LI",{dir:!0});var mg=l(Mr);er=o(mg,"P",{dir:!0});var vg=l(er);Fr=o(vg,"STRONG",{});var _g=l(Fr);hr=g(_g,`Joachim Brügge: Bemerkungen zu Peter Gülkes 1649 "Triumph der neuen Tonkunst", in: Acta Mozartiana, 1650 46. Jg., Heft 3/4 (Dezember 1999), S. 113-123.`),_g.forEach(a),vg.forEach(a),mg.forEach(a),va=k(yi),pr=o(yi,"LI",{dir:!0});var Pd=l(pr);Or=o(Pd,"P",{dir:!0});var Qf=l(Or);gr=o(Qf,"STRONG",{});var bg=l(gr);jr=g(bg,`Joachim Brügge: Opera incerta im Werk W. A. 1651 Mozarts: Das Flötenquartett C-Dur, KV 285b, in: 1652 Mozart-Studien, Bd. 7, hg. von Manfred Hermann 1653 Schmid, Tutzing: Hans Schneider, 1997, S. 199-217.`),bg.forEach(a),Qf.forEach(a),Pd.forEach(a),_a=k(yi),Oe=o(yi,"LI",{dir:!0});var xf=l(Oe);Xe=o(xf,"P",{dir:!0});var Sg=l(Xe);mr=o(Sg,"STRONG",{});var eh=l(mr);Ma=g(eh,`Joachim Brügge: Typus und Modell in den 1654 Klaviersonaten W. A. Mozarts, in: 1655 Mozart-Studien 3, hg. von Manfred Hermann 1656 Schmid, Tutzing: Hans Schneider, 1993, S. 1-47.`),eh.forEach(a),Sg.forEach(a),xf.forEach(a),yi.forEach(a),je=k(ae),Vr=o(ae,"P",{dir:!0});var Eg=l(Vr);na=o(Eg,"STRONG",{});var ne=l(na);Ur=g(ne,"Mozart: philological aspects"),ne.forEach(a),Eg.forEach(a),Ba=k(ae),Gt=o(ae,"OL",{start:!0});var Re=l(Gt);Pa=o(Re,"LI",{dir:!0});var Rg=l(Pa);vr=o(Rg,"P",{dir:!0});var $g=l(vr);ra=o($g,"STRONG",{});var _p=l(ra);Kr=g(_p,`Joachim Brügge: Alfred Einsteins letzter Brief? In: 1657 Acta Mozartiana, 56/1 (2009), S. 69-76.`),_p.forEach(a),$g.forEach(a),Rg.forEach(a),Is=k(Re),Fe=o(Re,"LI",{dir:!0});var wg=l(Fe);Yt=o(wg,"P",{dir:!0});var Nc=l(Yt);ba=o(Nc,"STRONG",{});var o2=l(ba);js=g(o2,`Joachim Brügge: Ausgesuchte Aspekte zu den 1658 Werkautographen, am Beispiel von KV 458 I, und den 1659 Skizzen und Fragmenten im Umfeld der 1660 "Haydn-Quartette" Mozarts, in: Motart-Jahrbuch 2001, 1661 S. 345-354.`),o2.forEach(a),Nc.forEach(a),wg.forEach(a),Vs=k(Re),Mt=o(Re,"LI",{dir:!0});var bp=l(Mt);Qt=o(bp,"P",{dir:!0});var Ng=l(Qt);aa=o(Ng,"STRONG",{});
1661var Cg=l(aa);sa=g(Cg,`Joachim Brügge: Bemerkungen zu Roger Lustig, On the 1662 Flute Quartet, K. Anh. 171 (285b), in: 1663 Mozart-Studien 10, hg. von Manfred Hermann 1664 Schmid, Tutzing: Hans Schneider, 2001, S. 65-79.`),Cg.forEach(a),Ng.forEach(a),bp.forEach(a),Re.forEach(a),Us=k(ae),ia=o(ae,"P",{dir:!0});var Bg=l(ia);rs=o(Bg,"STRONG",{});var Og=l(rs);Oa=g(Og,"Instrumental music of the 19th and 20th century"),Og.forEach(a),Bg.forEach(a),as=k(ae),Dr=o(ae,"OL",{start:!0});var Sp=l(Dr);Ka=o(Sp,"LI",{dir:!0});var Kg=l(Ka);oa=o(Kg,"P",{dir:!0});var nc=l(oa);Pi=o(nc,"STRONG",{});var l2=l(Pi);Zs=g(l2,`Joachim Brügge: Tendenzen der Kammermusik von Jean 1665 Sibelius, in: Facetten I: Symposien zur Kammermusik 1666 von Jean Sibelius, zum Liederkomponisten Max 1667 Kowalski und zur Liszt-Rezeption, hg. von Joachim 1668 Brügge (=Musikwissenschaftliche Schriften der 1669 Hochschule für Musik und Theater München, 6), 1670 Tutzing: Schneider, 2014, S. 21-23.`),l2.forEach(a),nc.forEach(a),Kg.forEach(a),Ke=k(Sp),Pe=o(Sp,"LI",{dir:!0});var Ep=l(Pe);qs=o(Ep,"P",{dir:!0});var Dg=l(qs);Ta=o(Dg,"STRONG",{});var Gg=l(Ta);lo=g(Gg,"Werkartikel im Brahms-Handbuch:"),Gg.forEach(a),Dg.forEach(a),Ep.forEach(a),Sp.forEach(a),co=k(ae),Da=o(ae,"P",{dir:!0});var Hg=l(Da);En=o(Hg,"STRONG",{});var Jg=l(En);Ls=g(Jg,`-Joachim Brügge: J. Brahms, Orchesterserenade op. 11, in: 1671 Johannes Brahms. Interpretationen seiner Werke, 1, hg. 1672 von Claus Bockmaier und Siegfried Mauser, Laaber: Laaber, 1673 2013, S. 77-81.`),Jg.forEach(a),Hg.forEach(a),Xs=k(ae),Ys=o(ae,"P",{dir:!0});var Wg=l(Ys);ss=o(Wg,"STRONG",{});var Fg=l(ss);uo=g(Fg,`-Joachim Brügge: J. Brahms, Orchesterserenaden op. 16, in: 1674 Johannes Brahms. Interpretationen seiner Werke 1, hg. 1675 von Claus Bockmaier und Siegfried Mauser, Laaber: Laaber, 1676 2013, S. 109-113.`),Fg.forEach(a),Wg.forEach(a),Qs=k(ae),is=o(ae,"P",{dir:!0});var jg=l(is);os=o(jg,"STRONG",{});var Vg=l(os);fo=g(Vg,`-Joachim Brügge: J. Brahms, Klaviertrio op. 87, in: 1677 Johannes Brahms. Interpretationen seiner Werke 2, hg. 1678 von Claus Bockmaier und Siegfried Mauser, Laaber: Laaber, 1679 2013, S. 625-629.`),Vg.forEach(a),jg.forEach(a),xs=k(ae),ls=o(ae,"P",{dir:!0});var Ug=l(ls);cs=o(Ug,"STRONG",{});var mt=l(cs);ho=g(mt,`-Joachim Brügge: J. Brahms, Klaviertrio op. 101, in: 1680 Johannes Brahms. Interpretationen seiner Werke 2, hg. 1681 von Claus Bockmaier und Siegfried Mauser, Laaber: Laaber, 1682 2013, S. 732-736.`),mt.forEach(a),Ug.forEach(a),ei=k(ae),us=o(ae,"P",{dir:!0});var Zg=l(us);ds=o(Zg,"STRONG",{});var Mi=l(ds);po=g(Mi,`-Joachim Brügge: J. Brahms, Streichquintett in G-Dur, op. 1683 111, in: Johannes Brahms. Interpretationen seiner 1684 Werke 2, hg. von Claus Bockmaier und Siegfried Mauser, 1685 Laaber: Laaber, 2013, S. 810-815.`),Mi.forEach(a),Zg.forEach(a),go=k(ae),Ia=o(ae,"P",{dir:!0});var c2=l(Ia);_r=o(c2,"STRONG",{});var qg=l(_r);Rs=g(qg,`-Joachim Brügge: J. Brahms, Hymne für zwei Violinen, 1686 Kontrabass oder Violoncello A-Dur. Anhang III,  Nr. 1, 1687 in: Johannes Brahms. Interpretationen seiner Werke 2, 1688 hg. von Claus Bockmaier und Siegfried Mauser, Laaber: 1689 Laaber, 2013, S. 1026-1027.`),qg.forEach(a),c2.forEach(a),ti=k(ae),ni=o(ae,"OL",{start:!0});var Xg=l(ni);Ga=o(Xg,"LI",{dir:!0});var Yg=l(Ga);ri=o(Yg,"P",{dir:!0});var Qg=l(ri);fs=o(Qg,"STRONG",{});var xg=l(fs);mo=g(xg,`Joachim Brügge: Kabinettstückchen im Klavierkanon - 1690 Muzio Clementi: Canone (Gradus ad Parnassum II, 1691 1828) und Edvard Grieg: Canon a 4 voci (1860), in: 1692 Studia Musicologica Norvegica 37 (2011), S. 75-82.`),xg.forEach(a),Qg.forEach(a),Yg.forEach(a),Xg.forEach(a),ai=k(ae),hs=o(ae,"P",{dir:!0});var em=l(hs);ps=o(em,"STRONG",{});var tm=l(ps);vo=g(tm," "),tm.forEach(a),em.forEach(a),si=k(ae),ii=o(ae,"P",{dir:!0});var nm=l(ii);gs=o(nm,"STRONG",{});var rm=l(gs);_o=g(rm,"New Music in the 20th century"),rm.forEach(a),nm.forEach(a),bo=k(ae),Ht=o(ae,"OL",{start:!0});var Qa=l(Ht);tr=o(Qa,"LI",{dir:!0});var am=l(tr);Sa=o(am,"P",{dir:!0});var sm=l(Sa);ms=o(sm,"STRONG",{});var ml=l(ms);So=g(ml,`Joachim Brügge: Wolfgang Rihm, Psychogramm einer 1693 inneren Krise. Wolfgang Rihm "Jakob Lenz", 1694 Kammeroper Nr. 2 (1977/78), in: ÃMZ 5 (Mai 2008), 1695  S. 16-20.`),ml.forEach(a),sm.forEach(a),am.forEach(a),oi=k(Qa),li=o(Qa,"LI",{dir:!0});var u2=l(li);Ha=o(u2,"P",{dir:!0});var im=l(Ha);Ti=o(im,"STRONG",{});var om=l(Ti);vs=g(om,`Joachim Brügge: Visuelle Metaphern als ästhetische
1696 Legitimation in der Neuen Musik. Zu Wolfgang Rihm, 1697 Jörg Widmann, Andre Ruschkowski, in: Bildmusik. 1698 Gerhard Rühm und die Kunst der Gegenwart, hg. von 1699 Joachim Brügge, Wolfgang Gratzer und Otto Neumaier, 1700 Saarbrücken: Pfau, 2007, S. 72-81.`),om.forEach(a),im.forEach(a),u2.forEach(a),Eo=k(Qa),Ja=o(Qa,"LI",{dir:!0});var lm=l(Ja);ci=o(lm,"P",{dir:!0});var cm=l(ci);_s=o(cm,"STRONG",{});var um=l(_s);zo=g(um,`Joachim Brügge: Wolfgang Rihm, Vers une Symphonie 1701 fleuve I-V (1995-2000). Fragen zu formalen, 1702 gattungsspezifischen und ästhetischen Aspekten, in: 1703 Musik-Konzepte. Sonderband Wolfgang Rihm, hg. von 1704 Ulrich Tadday, München: Text+Kritik, 2004, S. 1705 109-127.`),um.forEach(a),cm.forEach(a),lm.forEach(a),Wa=k(Qa),ui=o(Qa,"LI",{dir:!0});var dm=l(ui);di=o(dm,"P",{dir:!0});var fm=l(di);$s=o(fm,"STRONG",{});var hm=l($s);zn=g(hm,`Joachim Brügge: "Kanoniker" wider Willen? Gedanken 1706 über und Fragen an Wolfgang Rihm, in: Positionen 58 1707 (Februar 2004), S. 30-32.`),hm.forEach(a),fm.forEach(a),dm.forEach(a),ws=k(Qa),Fa=o(Qa,"LI",{dir:!0});var pm=l(Fa);fi=o(pm,"P",{dir:!0});var rc=l(fi);bs=o(rc,"STRONG",{});var d2=l(bs);ko=g(d2,`Joachim Brügge: Am Ende des Jahrhunderts. Tendenzen 1708 der Entwicklung nach 1975, in: Friedhelm Krummacher, 1709 Das Streichquartett. Teilband 2: Von Mendelssohn bis 1710 zur Gegenwart (=Handbuch der musikalischen 1711 Gattungen, 6/II), Laaber: Laaber, 2003, S. 1712 485-494.`),d2.forEach(a),rc.forEach(a),pm.forEach(a),hi=k(Qa),pi=o(Qa,"LI",{dir:!0});var gm=l(pi);ja=o(gm,"P",{dir:!0});var mm=l(ja);Ns=o(mm,"STRONG",{});var vm=l(Ns);gi=g(vm,`Joachim Brügge: Wolfgang Rihms Vertonungen der 1713 Karoline von Günderrode, Das Rot (1990), in: Neues 1714 Musikwissenschaftliches Jahrbuch 10 (2001), S. 1715 169-176.`),vm.forEach(a),mm.forEach(a),gm.forEach(a),Ao=k(Qa),wt=o(Qa,"LI",{dir:!0});var _m=l(wt);Ss=o(_m,"P",{dir:!0});var bm=l(Ss);Es=o(bm,"STRONG",{});var Sm=l(Es);yo=g(Sm,`Joachim Brügge: Zur Form und Ãsthetik in Wolfgang 1716 Rihms 3. Streichquartett, "Im Innersten"(1976), in: 1717 Die Musikforschung 2 (1999), S. 178-189.`),Sm.forEach(a),bm.forEach(a),_m.forEach(a),Ii=k(Qa),zs=o(Qa,"LI",{dir:!0});var Em=l(zs);kn=o(Em,"P",{dir:!0});var zm=l(kn);Va=o(zm,"STRONG",{});var io=l(Va);mi=g(io,`Joachim Brügge: Analyse: André Ruschkowski, 1718 Karabontara. Komposition für Klavier und 1719 4-Kanal-Tonband (1996), in: Neues 1720 Musikwissenschaftliches Jahrbuch 7 (1998), S. 1721 229-246.`),io.forEach(a),zm.forEach(a),Em.forEach(a),Qa.forEach(a),Mo=k(ae),Ua=o(ae,"P",{dir:!0});var f2=l(Ua);El=o(f2,"STRONG",{});var km=l(El);Li=g(km,"Theory of science / Methodological discourse"),km.forEach(a),f2.forEach(a),Gc=k(ae),vi=o(ae,"P",{dir:!0});var Am=l(vi);zl=o(Am,"STRONG",{});var ym=l(zl);Po=g(ym,"Intertextuality  "),ym.forEach(a),Am.forEach(a),Hc=k(ae),la=o(ae,"OL",{start:!0});var Cc=l(la);Ri=o(Cc,"LI",{dir:!0});var Mm=l(Ri);_i=o(Mm,"P",{dir:!0});var Pm=l(_i);kl=o(Pm,"STRONG",{});var Tm=l(kl);To=g(Tm,`Joachim Brügge: Wolfgang Rihm, Jagden und Formen 1722 (1995/2001, Zustand 2008) â im Konflikt 1723 hermeneutischer Perspektiven aus âproliferationâ, 1724 âÃbermalungâ, âIntertextualitätâ und âCollageâ, in: 1725 Arbeit am Werk, hg. von Wolfgang Gratzer und Otto 1726 Neumaier (=Klang-reden. Schriften zur Musikalischen 1727 Rezeptions- und Interpretationsgeschichte, 9), 1728 Freiburg i.Br.: Rombach, 2011, S. 183-200.`),Tm.forEach(a),Pm.forEach(a),Mm.forEach(a),Jc=k(Cc),bi=o(Cc,"LI",{dir:!0});var Im=l(bi);Io=o(Im,"P",{dir:!0});var Lm=l(Io);Al=o(Lm,"STRONG",{});var Rm=l(Al);$d=g(Rm,`Joachim Brügge: Intertextualität als Thema der 1729 Mozartforschung, in: Mozart neu entdecken. 1730 Theoretische Interpretationen seines Werks, hg. von 1731 Gernot Gruber und Siegfried Mauser, Laaber
1731: Laaber, 1732 2012, S. 245-255.`),Rm.forEach(a),Lm.forEach(a),Im.forEach(a),Za=k(Cc),Gi=o(Cc,"LI",{dir:!0});var $m=l(Gi);Lo=o($m,"P",{dir:!0});var Ds=l(Lo);wd=o(Ds,"STRONG",{});var h2=l(wd);Wc=g(h2,`Joachim Brügge: Zwischen Einzel- und 1733 Systemtextreferenz? Intertextualität als formale 1734 Dramaturgie in Franz Schuberts "Fantasie in C für 1735 Violine und Klavier", D 934, in: Schubert: 1736 Perspektiven, 2009, S. 43-59.`),h2.forEach(a),Ds.forEach(a),$m.forEach(a),Ah=k(Cc),Ro=o(Cc,"LI",{dir:!0});var wm=l(Ro);Fc=o(wm,"P",{dir:!0});var Nm=l(Fc);yl=o(Nm,"STRONG",{});var Cm=l(yl);yh=g(Cm,`Joachim Brügge: Intertextualität als Problem: zum 1737 Finale von Mozarts D-Dur- Quintett, KV 593, und 1738 "Jupitersymphonie", KV 551 IV, in: Analecta 1739 Musicologica, LXVIII/I (Januar-Juli 1996), S. 1-11.`),Cm.forEach(a),Nm.forEach(a),wm.forEach(a),Cc.forEach(a),jc=k(ae),Vc=o(ae,"P",{dir:!0});var Bm=l(Vc);Ml=o(Bm,"STRONG",{});var Om=l(Ml);Mh=g(Om,"Ethnological contribution"),Om.forEach(a),Bm.forEach(a),Uc=k(ae),Zc=o(ae,"OL",{start:!0});var Km=l(Zc);$o=o(Km,"LI",{dir:!0});var Dm=l($o);qc=o(Dm,"P",{dir:!0});var Gm=l(qc);Nd=o(Gm,"STRONG",{});var Hm=l(Nd);Cd=g(Hm,`Joachim Brügge: Der Ãdipusmythos in der Deutung von 1740 Claude Lèvi-Strauss. Ein vielgescholtener Klassiker 1741 gibt Anlaà zum Nachdenken, in: Anthropos 1 1742 (Halbband März 1998), S. 197-202.`),Hm.forEach(a),Gm.forEach(a),Dm.forEach(a),Km.forEach(a),Si=k(ae),Hi=o(ae,"P",{dir:!0});var Jm=l(Hi);Pl=o(Jm,"STRONG",{});var Wm=l(Pl);Ph=g(Wm," "),Wm.forEach(a),Jm.forEach(a),Xc=k(ae),Yc=o(ae,"P",{dir:!0});var Fm=l(Yc);Tl=o(Fm,"STRONG",{});var jm=l(Tl);Th=g(jm,`Postmodernism 1743                                                                                                                                                                                                             `),jm.forEach(a),Fm.forEach(a),Qc=k(ae),Il=o(ae,"OL",{start:!0});var zp=l(Il);wo=o(zp,"LI",{dir:!0});var Bc=l(wo);xc=o(Bc,"P",{dir:!0});var p2=l(xc);eu=o(p2,"STRONG",{});var Vm=l(eu);mc=g(Vm,`Joachim Brügge: Edvard Griegs Mozartbearbeitungen - 1744 ein früher Modellfall aus postmoderner 1745 Ãberschreibungsästhetik und Bloomschen Misreading?, 1746 in: Musikgeschichte als Verstehensgeschichte. 1747 Festschrift Gernot Gruber, hg. von Joachim Brügge, 1748 Franz Födermayr, Wolfgang Gratzer, Thomas Hochradner 1749 und Siegfried Mauser, Tutzing: Schneider, 2004, S. 1750 411-420.`),Vm.forEach(a),p2.forEach(a),Bc.forEach(a),Ih=k(zp),vc=o(zp,"LI",{dir:!0});var Um=l(vc);Ji=o(Um,"P",{dir:!0});var Zm=l(Ji);Ll=o(Zm,"STRONG",{});var qm=l(Ll);Lh=g(qm,`Joachim Brügge: Gödel, Escher, Bach - oder ein 1751 endlos knebelndes Band. Ein Nekrolog auf die 1752 Ãsthetik der Postmoderne, in: Der Diskurs des 1753 Möglichen. Musik zwischen Kunst, Wissenschaft und 1754 Pädagogik. Festschrift Wolfgang Roscher zum 70. 1755 Geburtstag, hg. von Peter Maria Krakauer u. a. (= 1756 Wort und Musik. Salzburger Akademische Beiträge, 1757 36), Anif/Salzburg: Müller-Speiser, 1999, S. 1758 114-131.`),qm.forEach(a),Zm.forEach(a),Um.forEach(a),zp.forEach(a),oh=k(ae),xe=o(ae,"P",{dir:!0});var Xm=l(xe);_c=o(Xm,"STRONG",{});var Ym=l(_c);No=g(Ym,"Sonata form"),Ym.forEach(a),Xm.forEach(a),bc=k(ae),Co=o(ae,"OL",{start:!0});var Qm=l(Co);tu=o(Qm,"LI",{dir:!0});var ac=l(tu);Bo=o(ac,"P",{dir:!0});var g2=l(Bo);Bd=o(g2,"STRONG",{});
1758var xm=l(Bd);Rh=g(xm,`Joachim Brügge: Ausgewählte Aspekte zur Diskussion 1759 der Sonatensatzformen im 18. und frühen 19. 1760 Jahrhundert, in: "Musikkonzepte -Konzepte der 1761 Musikwissenschaft", Bericht über den Internationalen 1762 Kongreà der Gesellschaft für Musikforschung Halle 1763 (Saale) 1998, Bd. 2: Freie Referate, hg. von Kathrin 1764 Eberl und Wolfgang Ruf, Kassel [u. a.]: 1765 Bärenreiter, 2000, S. 404-410.`),xm.forEach(a),g2.forEach(a),ac.forEach(a),Qm.forEach(a),Od=k(ae),ks=o(ae,"P",{dir:!0});var e1=l(ks);Oo=o(e1,"STRONG",{});var t1=l(Oo);nu=g(t1,"Viennese School"),t1.forEach(a),e1.forEach(a),$h=k(ae),$i=o(ae,"OL",{start:!0});var kp=l($i);ru=o(kp,"LI",{dir:!0});var n1=l(ru);Ko=o(n1,"P",{dir:!0});var r1=l(Ko);Kd=o(r1,"STRONG",{});var a1=l(Kd);au=g(a1,`Joachim Brügge: "Drama und Diskurs" - oder immer 1766 das "Ganze vor Augen": Musikalische Logik als 1767 Kategorie der Wiener Klassik? In: Aspekte der 1768 Haydn-Rezeption. Beiträge der gleichnamigen Tagung 1769 vom 20.-22. November 2009, hg. von Joachim Brügge 1770 und Ulrich Leisinger (=Klang-reden, 6), Freiburg 1771 i.Br.: Rombach, 2011 , S. 197-209.`),a1.forEach(a),r1.forEach(a),n1.forEach(a),wh=k(kp),su=o(kp,"LI",{dir:!0});var s1=l(su);Rl=o(s1,"P",{dir:!0});var vl=l(Rl);wi=o(vl,"STRONG",{});var m2=l(wi);Sc=g(m2,`Joachim Brügge: Zum Begriff der "Wiener Klassik" 1772 vor dem Hintergrund ausgesuchter Probleme der 1773 Mozartforschung, in: "Wiener Klassik". Ein 1774 musikgeschichtlicher Begriff in Diskussion (=Wiener 1775 Musikwissenschaftliche Beiträge, 21), Wien: 1776 Böhlau, 2002, S. 105-110.`),m2.forEach(a),vl.forEach(a),s1.forEach(a),kp.forEach(a),iu=k(ae),ou=o(ae,"P",{dir:!0});var i1=l(ou);$l=o(i1,"STRONG",{});var o1=l($l);Nh=g(o1,"Diverse"),o1.forEach(a),i1.forEach(a),Ch=k(ae),Gr=o(ae,"OL",{start:!0});var Gs=l(Gr);qa=o(Gs,"LI",{dir:!0});var l1=l(qa);Wi=o(l1,"P",{dir:!0});var c1=l(Wi);wl=o(c1,"STRONG",{});var u1=l(wl);Bh=g(u1,`Joachim Brügge: Contraintes et musique - oder: Vom 1777 Krebskanon zur One-Note-Samba? Immer diese leidigen 1778 Universalien ..., in: Nach allen Regeln der Kunst. 1779 Werke und Studien zur Literatur-, Kunst- und 1780 Musikproduktion. Für Peter Kuon zum 60. Geburtstag, 1781 hg. von Kathrin Ackermann und Susanne Winter 1782 (=Austria: Forschung und Wissenschaft. Literatur- 1783 und Sprachwissenschaft, 23), Münster: LIT, 2013, S. 1784 151-163.`),u1.forEach(a),c1.forEach(a),l1.forEach(a),lu=k(Gs),cu=o(Gs,"LI",{dir:!0});var d1=l(cu);Do=o(d1,"P",{dir:!0});var f1=l(Do);Dd=o(f1,"STRONG",{});var h1=l(Dd);uu=g(h1,`Joachim Brügge: Stefan Zweig, C.G. Jung und die 1785 Kulturgeschichte des Schachs - vom indischen 1786 Tschaturanga zur modernen Alchemie des 20. 1787 Jahrhunderts, in: Das Buch als Eingang zur Welt, hg. 1788 von Joachim Brügge (=Schriftenreihe des "Stefan 1789 Zweig Centre Salzburg", 1), Würzburg: Königshausen 1790 & Neumann, 2008, S. 95-106.`),h1.forEach(a),f1.forEach(a),d1.forEach(a),Oh=k(Gs),Go=o(Gs,"LI",{dir:!0});var _l=l(Go);du=o(_l,"P",{dir:!0});var v2=l(du);Gd=o(v2,"STRONG",{});var p1=l(Gd);Hd=g(p1,`Joachim Brügge: Zum Begriff der "Unbekannten 1791 Kulturlandschaften", in: Kulturstereotype  und 1792 Unbekannte Kulturlandschaften am Beispiel von 1793 Amerika und Europa, hg. von Joachim Brügge und 1794 Ulrike Kammerhofer-Aggermann (=Wort und Musik. 1795 Salzburger akademische Beiträge, 66), Anif/Salzburg: 1796 Müller-Speiser, 2007, S.15-17.`),p1.forEach(a),v2.forEach(a),_l.forEach(a),Cs=k(Gs),Fi=o(Gs,"LI",{dir:!0});var g1=l(Fi);Ho=o(g1,"P",{dir:!0});var m1=l(Ho);
1796Jd=o(m1,"STRONG",{});var v1=l(Jd);fu=g(v1,`Joachim Brügge: Urbane Identität als mediale 1797 Konstruktion? Die Festspielstadt Salzburg als 1798 medialer Mythos zwischen Mozart und Sound of Music, 1799 in: Identität und Kreativität, hg. von Gabriele 1800 Hofmann (=Forum Musikpädagogik. Augsburger 1801 Schriften, 80), Augsburg: WiÃmer, 2007, S. 1802 19-25.`),v1.forEach(a),m1.forEach(a),g1.forEach(a),Kh=k(Gs),Jo=o(Gs,"LI",{dir:!0});var _1=l(Jo);hu=o(_1,"P",{dir:!0});var b1=l(hu);Nl=o(b1,"STRONG",{});var S1=l(Nl);Dh=g(S1,`Joachim Brügge: Metamorphosenkonzept und 1803 Traditionen des 19. Jahrhunderts: Bemerkungen zu 1804 Richard Strauss "Metamorphosen". Studie für 23 1805 Solostreicher (o.op.142), in: Neues 1806 Musikwissenschaftliches Jahrbuch 2005, S. 119-129.`),S1.forEach(a),b1.forEach(a),_1.forEach(a),pu=k(Gs),gu=o(Gs,"LI",{dir:!0});var E1=l(gu);Wo=o(E1,"P",{dir:!0});var z1=l(Wo);Wd=o(z1,"STRONG",{});var bl=l(Wd);Gh=g(bl,`Joachim Brügge: Musik als Sujet in aktuellen 1807 naturwissenschaftlich-kosmologischen Kontexten - am 1808 Beispiel der "DNA-Musik" und der 1809 "Superstrings"-Theorie, in: Gegen die Zeit. Roland 1810 Ploeger zum 75. Geburtstag, hg. von Birger 1811 Petersen-Mikkelsen und Andreas Pieper, Lübeck: 1812 Collegium Musica Nova Lubecensi, 2003, S. 1813 31-42.`),bl.forEach(a),z1.forEach(a),E1.forEach(a),Fd=k(Gs),Xa=o(Gs,"LI",{dir:!0});var _2=l(Xa);ji=o(_2,"P",{dir:!0});var k1=l(ji);Cl=o(k1,"STRONG",{});var A1=l(Cl);Hh=g(A1,`Joachim Brügge / Roland Wohlfart / Silke Berdux: 1814 Eine unbekannte Orgeltabulatur des frühen 17. 1815 Jahrhunderts, in: Wolfenbütteler Beiträge. Aus den 1816 Schätzen der Herzog August Bibliothek, Bd. 8, hg. 1817 von Paul Raabe, Frankfurt a. M.: Klostermann, 1988, 1818 S. 245-271.`),A1.forEach(a),k1.forEach(a),_2.forEach(a),Gs.forEach(a),mu=k(ae),vu=o(ae,"P",{dir:!0});var y1=l(vu);Bl=o(y1,"STRONG",{});var M1=l(Bl);Jh=g(M1,`American music, popular music 1819                                                                                                                                                                `),M1.forEach(a),y1.forEach(a),_u=k(ae),ca=o(ae,"OL",{start:!0});var Hs=l(ca);Fo=o(Hs,"LI",{dir:!0});var P1=l(Fo);bu=o(P1,"P",{dir:!0});var T1=l(bu);jd=o(T1,"STRONG",{});var I1=l(jd);Vd=g(I1,`Joachim Brügge: Bernard Herrmann: Dirigent, 1820 Komponist und Filmkomponist, in: Dirigenten als 1821 Komponisten, hg. von Wolfgang Gratzer und Alexander 1822 Drcár (Klang-reden, 16), Freiburg. i.Br.: 1823 Rombach, 2017, S. 243-255.`),I1.forEach(a),T1.forEach(a),P1.forEach(a),Ni=k(Hs),Vi=o(Hs,"LI",{dir:!0});var L1=l(Vi);jo=o(L1,"P",{dir:!0});var sc=l(jo);Ud=o(sc,"STRONG",{});var b2=l(Ud);Su=g(b2,`Joachim Brügge: Formale und analytische Aspekte der 1824 Musik in My Fair Lady, in: My Fair Lady. Eine 1825 transdisziplinäre Einführung, hg. von Joachim Brügge 1826 und Sabine Coelsch-Foisner (=Wissenschaft und Kunst, 1827 16), Heidelberg: Universitätsverlag Winter, 2015, S. 1828 137-171.`),b2.forEach(a),sc.forEach(a),L1.forEach(a),Wh=k(Hs),Vo=o(Hs,"LI",{dir:!0});var R1=l(Vo);Eu=o(R1,"P",{dir:!0});var $1=l(Eu);Ol=o($1,"STRONG",{});var w1=l(Ol);Fh=g(w1,`Joachim Brügge: Dramaturgische und formale Aspekte 1829 zu ausgesuchten Songs zu Singin´ in the Rain, in: 1830 Singin´ in the Rain. Kulturgeschichte eines 1831 Hollywood-Musical-Klassikers, hg. von Joachim Brügge 1832 und Nils Grosch (=Populäre Kultur und 1833 Musik, 14), Münster u.a.: Waxmann, 2014, S.
1834 152-164.`),w1.forEach(a),$1.forEach(a),R1.forEach(a),jh=k(Hs),Kl=o(Hs,"LI",{dir:!0});var N1=l(Kl);As=o(N1,"P",{dir:!0});var C1=l(As);Uo=o(C1,"STRONG",{});var B1=l(Uo);zu=g(B1,`Joachim Brügge: By George, she´s got it! Elizas 1835 "Jargon" in ausgesuchten deutschsprachigen 1836 Ãbersetzungen - die Wiener Inszenierung von 1969 und 1837 andere Mundartversionen von My Fair Lady, in: Die 1838 Rezeption des Broadwaymusicals in Deutschland, hg. 1839 von Nils Grosch und Elmar Juchem 1840 (=Veröffentlichungen der Kurt-Weill-Gesellschaft 1841 Dessau, 8), Münster: Waxmann, 2012, S. 77-93.`),B1.forEach(a),C1.forEach(a),N1.forEach(a),Vh=k(Hs),Zo=o(Hs,"LI",{dir:!0});var O1=l(Zo);ku=o(O1,"P",{dir:!0});var K1=l(ku);Dl=o(K1,"STRONG",{});var ic=l(Dl);Uh=g(ic,`Joachim Brügge: Nord-amerikanische Musik als 1842 "Hochkultur"? Eine unbekannte Kulturlandschaft - am 1843 Beispiel von Samuel Barbers op. 11 (mit dem Adagio) 1844 u. a., in: Kulturstereotype und Unbekannte 1845 Kulturlandschaften: Amerika-Europa, hg. von Joachim 1846 Brügge und Ulrike Kammerhofer-Aggermann (=Wort und 1847 Musik.Salzburger akademische Beiträge, 66), 1848 Anif/Salzburg: Müller-Speiser, 2007, S. 127-142.`),ic.forEach(a),K1.forEach(a),O1.forEach(a),Au=k(Hs),yu=o(Hs,"LI",{dir:!0});var S2=l(yu);Mu=o(S2,"P",{dir:!0});var D1=l(Mu);Ec=o(D1,"STRONG",{});var G1=l(Ec);Bs=g(G1,`Joachim Brügge: Stadt als Sujet im Musical. Vortrag 1849 zum Symposium Himmlisches Jerusalem, Modernes 1850 Babylon: Die Stadt als Sujet und Herausforderung des 1851 (Musik)Theaters, in: Mahagonny. Die Stadt als Sujet 1852 und Herausforderung des (Musik-)Theaters. Vorträge 1853 und Materialien des Salzburger Symposium 1998, hg. 1854 von Peter Csobádi u. a. (= Wort und Musik. 1855 Salzburger Akademische Beiträge, 44), Anif/ 1856 Salzburg: Müller-Speiser, 2000, S. 677-685.`),G1.forEach(a),D1.forEach(a),S2.forEach(a),zc=k(Hs),qo=o(Hs,"LI",{dir:!0});var H1=l(qo);Pu=o(H1,"P",{dir:!0});var J1=l(Pu);Gl=o(J1,"STRONG",{});var W1=l(Gl);Zh=g(W1,`Joachim Brügge: Das Musical "The Sound of Music" - 1857 Bemerkungen zur Musik und Gattungstypologie, in: 1858 "The Sound of Music", zwischen Mythos und Marketing. 1859 Geschichte und Rezeption, hg. von Ulrike 1860 Kammerhofer-Aggermann (= Salzburger Beiträge zur 1861 Volkskunde, 11), Salzburg: Selbstverlag des 1862 Salzburger Landesinstitutes für Volkskunde, 2000, S. 1863 223-235.`),W1.forEach(a),J1.forEach(a),H1.forEach(a),Hs.forEach(a),Tu=k(ae),Iu=o(ae,"P",{dir:!0});var F1=l(Iu);Hl=o(F1,"STRONG",{});var j1=l(Hl);qh=g(j1,"History of interpretation"),j1.forEach(a),F1.forEach(a),Lu=k(ae),La=o(ae,"OL",{start:!0});var Oi=l(La);Xo=o(Oi,"LI",{dir:!0});var oc=l(Xo);Ru=o(oc,"P",{dir:!0});var E2=l(Ru);Zd=o(E2,"STRONG",{});var V1=l(Zd);qd=g(V1,`Joachim Brügge: Dinu Lipatti und Frédéric Chopin, 1864 Barcarolle op. 60 - "wie unter Sternenlicht 1865 gespielt", in: Facetten II: Kleine Studien - Edition 1866 und Interpretation bei Chopin - Die Münchener Schule 1867 und Max Reger, hg. von Claus Bockmaier , München: 1868 Allitera, 2016, S. 23-28.`),V1.forEach(a),E2.forEach(a),oc.forEach(a),Ci=k(Oi),Ui=o(Oi,"LI",{dir:!0});var U1=l(Ui);Yo=o(U1,"P",{dir:!0});var Z1=l(Yo);Xd=o(Z1,"STRONG",{});var q1=l(Xd);$u=g(q1,`Joachim Brügge: Interpretation als Cover? Mozart in 1869 ausgesuchten Jazz-Einspielungen, in: Zur 1870 Interpretation von W.A. Mozarts Kammermusik, hg. von 1871 Joachim Brügge (=Klang-reden. Schriften zur 1872 Musikalischen Rezeptions- und 1873 Interpretationsgeschichte, 14), Freiburg i.Br.: 1874 Rombach, 2015, S. 239-249.`),q1.forEac
1874h(a),Z1.forEach(a),U1.forEach(a),Xh=k(Oi),Qo=o(Oi,"LI",{dir:!0});var X1=l(Qo);wu=o(X1,"P",{dir:!0});var Y1=l(wu);Jl=o(Y1,"STRONG",{});var Q1=l(Jl);Yh=g(Q1,`Joachim Brügge: Max Kowalski und seine Sänger, in: 1875 Facetten I: Symposien zur Kammermusik von Jean 1876 Sibelius, zum Liederkomponisten Max Kowalski und zur 1877 Liszt-Rezeption, hg. von Joachim 1878 Brügge (=Musikwissenschaftliche Schriften der 1879 Hochschule für Musik und Theater München, 6), 1880 Schneider: Tutzing, 2014, S. 205-212.`),Q1.forEach(a),Y1.forEach(a),X1.forEach(a),Qh=k(Oi),Wl=o(Oi,"LI",{dir:!0});var x1=l(Wl);ys=o(x1,"P",{dir:!0});var oo=l(ys);xo=o(oo,"STRONG",{});var z2=l(xo);Nu=g(z2,`Joachim Brügge: Von Richard Chamberlain zu den 1881 Carpenters: Wie They Long To Be Close To You ein Hit 1882 wurde - alles nur Strategien unterschiedlicher 1883 Soundkonzepte?, in: Coverstrategien in der 1884 Popularmusik nach 1960, hg. von Joachim Brügge 1885 (=Klang-reden. Schriften zur Musikalischen 1886 Rezeptions- und Interpretationsgeschichte, 11), 1887 Freiburg i.Br. [u.a.]: Rombach, 2013, S. 147-162.`),z2.forEach(a),oo.forEach(a),x1.forEach(a),xh=k(Oi),el=o(Oi,"LI",{dir:!0});var ev=l(el);Cu=o(ev,"P",{dir:!0});var tv=l(Cu);Fl=o(tv,"STRONG",{});var nv=l(Fl);ep=g(nv,`Joachim Brügge: Sinfonie in Es-Dur, KV 543: Mozarts 1888 "Schwanengesang" oder "vorklassische 1889 Divertimento-Ãsthetik" - Sinfonische Dimensionen als 1890 Thema der Interpretationsforschung?, in: Beiträge 1891 zur Interpretationsästhetik und zur 1892 Hermeneutik-Diskusiioj, hg. von Claus Bockmaier 1893 (=Schriften zur musikalischen Hermeneutik, 10), 1894 Laaber: Laaber, 2009, S. 195-202.`),nv.forEach(a),tv.forEach(a),ev.forEach(a),Bu=k(Oi),Ou=o(Oi,"LI",{dir:!0});var rv=l(Ou);Ku=o(rv,"P",{dir:!0});var av=l(Ku);kc=o(av,"STRONG",{});var sv=l(kc);Ei=g(sv,`Joachim Brügge: Herbert von Karajan als Dirigent 1895 von Mozarts "Jupiter"-Sinfonie, KV 551. Satzbilder 1896 als Thema der Interpretationsforschung?, in: Mozarts 1897 letzte Sinfonien. Stationen ihrer 1898 Interpretationsgeschichte, hg. von Joachim Brügge, 1899 Wolfgang Gratzer und Thomas Hochradner 1900 (=Klang-reden, 1), Freiburg i.Br. [u.a.]: Rombach 1901 Verlag, 2008, S. 149-159.`),sv.forEach(a),av.forEach(a),rv.forEach(a),Oi.forEach(a),Ac=k(ae),tl=o(ae,"P",{dir:!0});var iv=l(tl);Yd=o(iv,"STRONG",{});var ov=l(Yd);Du=g(ov,"History of reception"),ov.forEach(a),iv.forEach(a),tp=k(ae),Ea=o(ae,"OL",{start:!0});var Sl=l(Ea);Gu=o(Sl,"LI",{dir:!0});var lv=l(Gu);Bi=o(lv,"P",{dir:!0});var Ki=l(Bi);Qd=o(Ki,"STRONG",{});var k2=l(Qd);Hu=g(k2,`Joachim Brügge: Franz Liszt und das "Formale" - zu 1902 ausgesuchten Aspekten der Liszt-Rezeption im 1903 musiktheoretischen Schrifttum, in: Facetten I: 1904 Symposien zur Kammermusik von Jean Sibelius, zum 1905 Liederkomponisten Max Kowalski und zur 1906 Liszt-Rezeption, hg. von Joachim 1907 Brügge (=Musikwissenschaftliche Schriften der 1908 Hochschule für Musik und Theater München, 6), 1909 Tutzing: Hans Schneider, 2014, `),k2.forEach(a),np=k(Ki),xd=o(Ki,"STRONG",{});var cv=l(xd);ef=g(cv,"S. 275-282 ."),cv.forEach(a),Ki.forEach(a),lv.forEach(a),Os=k(Sl),Zi=o(Sl,"LI",{dir:!0});var uv=l(Zi);nl=o(uv,"P",{dir:!0});var dv=l(nl);tf=o(dv,"STRONG",{});var fv=l(tf);Ju=g(fv,`Joachim Brügge: Roundtable (mit Peter Cossé, 1910 Siegfried Mauser und Tomi Mäkelä): Jean Sibelius - 1911 ein Moderner wider Willen?, in: Facetten I: 1912 Symposien zur Kammermusik von Jean Sibelius, zum 1913 Liederkomponisten Max Kowalski und zur 1914 Liszt-Rezeption, hg. von Joachim Brügge (= 1915 Musikwissenschaftliche Schriften der Hochschule für 1916 Musik und Theater München, 6), Tutzing: Schneider, 1917 2014, S. 11-19.`),fv.forEach(a),dv.forEach(a),uv.forEach(a),rp=k(Sl),rl=o(Sl,"LI",{dir:!0});var hv=l(rl);Wu=o(hv,"P",{dir:!0});var pv=l(Wu);
1917jl=o(pv,"STRONG",{});var gv=l(jl);ap=g(gv,`Joachim Brügge: Jean Sibelius, âBaum-â  und 1918 âBlumenstückeâ, Cinq Morceaux pour piano, op. 75 und 1919 op. 85, in: Facetten I: Symposien zur Kammermusik 1920 von Jean Sibelius, zum Liederkomponisten Max 1921 Kowalski und zur Liszt-Rezeption, hg. von Joachim 1922 Brügge (=Musikwissenschaftliche Schriften der 1923 Hochschule für Musik und Theater München, 6), 1924 Tutzing: Schneider, 2014, S. 31-41.`),gv.forEach(a),pv.forEach(a),hv.forEach(a),Fu=k(Sl),ju=o(Sl,"LI",{dir:!0});var mv=l(ju);al=o(mv,"P",{dir:!0});var vv=l(al);nf=o(vv,"STRONG",{});var Td=l(nf);sp=g(Td,`Joachim Brügge: Dietrich Fischer-Dieskau, Hugo 1925 Wolf. Leben und Werk, in: Dietrich Fischer-Dieskau. 1926 Zu seiner Entwicklung als Sänger und Musikdenker, 1927 hg. von Wolfgang Gratzer (=Klang-reden. 1928 Schriften zur Musikalischen Rezeptions- und 1929 Interpretationsgeschichte, 8), Freiburg i.Br. u.a.: 1930 Rombach, 2012, S. 217-230.`),Td.forEach(a),vv.forEach(a),mv.forEach(a),rf=k(Sl),Ms=o(Sl,"LI",{dir:!0});var A2=l(Ms);qi=o(A2,"P",{dir:!0});var _v=l(qi);Vl=o(_v,"STRONG",{});var bv=l(Vl);ip=g(bv,`Joachim Brügge: Zu den Vertonungen von Gedichten 1931 Stefan Zweigs, in: Stefan Zweig - Neue Forschung, 1932 hg. von Karl Müller (=Schriftenreihe des 1933 "Stefan Zweig Centre Salzburg", 3), Würzburg: 1934 Königshausen & Neumann , 2012, S. 209-217.`),bv.forEach(a),_v.forEach(a),A2.forEach(a),Sl.forEach(a),Vu=k(ae),Uu=o(ae,"P",{dir:!0});var Sv=l(Uu);Ul=o(Sv,"STRONG",{});var Ev=l(Ul);op=g(Ev,"Editorship"),Ev.forEach(a),Sv.forEach(a),Zu=k(ae),et=o(ae,"OL",{});var vt=l(et);yc=o(vt,"LI",{dir:!0});var zv=l(yc);Xi=o(zv,"P",{dir:!0});var kv=l(Xi);af=o(kv,"STRONG",{});var Av=l(af);lh=g(Av,`Joachim Brügge (Hg.): Zwischen "Cultural Heritage" 1935 und Konzertführer. W.A. Mozart, Eine Kleine 1936 Nachtmusik in den Medien (=klang-reden. Schriften 1937 zur Musikalischen Rezeptions- und 1938 Interpretationsgeschichte, Bd. 15), Freiburg i.Br.: 1939 Rombach 2016`),Av.forEach(a),kv.forEach(a),zv.forEach(a),Mc=k(vt),sl=o(vt,"LI",{dir:!0});var xt=l(sl);qu=o(xt,"P",{dir:!0});var yv=l(qu);Xu=o(yv,"STRONG",{});var Ap=l(Xu);Yu=g(Ap,`Joachim Brügge / Sabine Coelsch-Foisner (Hg.): My 1940 Fair Lady. Eine transdisziplinäre Einführung 1941 (=Wissenschaft und Kunst, Bd. 16), Heidelberg: 1942 Universitätsverlag Winter, 2015.`),Ap.forEach(a),yv.forEach(a),xt.forEach(a),Pc=k(vt),zi=o(vt,"LI",{dir:!0});var y2=l(zi);Yi=o(y2,"P",{dir:!0});var Mv=l(Yi);Zl=o(Mv,"STRONG",{});var Pv=l(Zl);lp=g(Pv,`Joachim Brügge (Hg.): Zur Interpretation von W.A. 1943 Mozarts Kammermusik (=klang-reden. Schriften zur 1944 Musikalischen Rezeptions- und 1945 Interpretationsgeschichte, Bd. 14), Freiburg i.Br.: 1946 Rombach, 2015.`),Pv.forEach(a),Mv.forEach(a),y2.forEach(a),Qu=k(vt),xu=o(vt,"LI",{dir:!0});var Tv=l(xu);ed=o(Tv,"P",{dir:!0});var th=l(ed);il=o(th,"STRONG",{});var M2=l(il);Rp=g(M2,`Joachim Brügge / Nils Grosch (Hg.): Singin´ in the 1947 Rain. Kulturgeschichte eines 1948 Hollywood-Musical-Klassikers (=Populäre Kultur und 1949 Musik, Bd. 14), Münster u.a.: Waxmann, 2014.`),M2.forEach(a),th.forEach(a),Tv.forEach(a),ch=k(vt),Qi=o(vt,"LI",{dir:!0});var Iv=l(Qi);td=o(Iv,"P",{dir:!0});var Lv=l(td);nd=o(Lv,"STRONG",{});var Rv=l(nd);Tc=g(Rv,`Joachim Brügge (Hg.): Facetten I: Symposien zur 1950 Kammermusik von Jean Sibelius, zum Liederkomponisten 1951 Max Kowalski und zur Liszt-Rezeption 1952 (=Musikwissenschaftliche Schriften der Hochschule 1953 für Musik und Theater München. Hg. von Siegfried 1954 Mauser u. Claus Bockmaier, Bd. 6), Tutzing: 1955 Schneider, 2014.`),Rv.forEach(a),Lv.forEach(a),Iv.forEach(a),rd=k(vt),ad=o(vt,"LI",{dir:!0});var $v=l(ad);Ic=o($v,"P",{dir:!0});var wv=l(Ic);ki=o(wv,"STRONG",{});var yp=l(ki);sf=g(yp,`Joachim Brügge (Hg.): Coverstrategien in der 1956 Popularmusik nach 1960 (klang-reden. Schriften zur 1957 Musikalischen Rezeptions- und 1958 Interpretationsgeschichte, Bd. 11), Freiburg i.Br.
1959 u.a.: Rombach, 2013.`),yp.forEach(a),wv.forEach(a),$v.forEach(a),xi=k(vt),eo=o(vt,"LI",{dir:!0});var P2=l(eo);ol=o(P2,"P",{dir:!0});var Nv=l(ol);of=o(Nv,"STRONG",{});var Cv=l(of);sd=g(Cv,`Joachim Brügge / Ulrich Leisinger (Hg.): Aspekte 1960 der Haydn-Rezeption (klang-reden. Schriften zur 1961 Musikalischen Rezeptions- und 1962 Interpretationsgeschichte, Bd. 6), Freiburg i.Br. 1963 u.a.: Rombach, 2011.`),Cv.forEach(a),Nv.forEach(a),P2.forEach(a),cp=k(vt),ll=o(vt,"LI",{dir:!0});var Bv=l(ll);id=o(Bv,"P",{dir:!0});var Id=l(id);lf=o(Id,"STRONG",{});var T2=l(lf);cf=g(T2,`Joachim Brügge / Wolfgang Gratzer / Thomas 1964 Hochradner (Hg.): Mozarts letzte Sinfonien. 1965 Stationen ihrer Interpretationsgeschichte 1966 (klang-reden. Schriften zur Musikalischen 1967 Rezeptions- und Interpretationsgeschichte, Bd. 1), 1968 Freiburg i.Br. u.a.: Rombach, 2008.`),T2.forEach(a),Id.forEach(a),Bv.forEach(a),Ps=k(vt),to=o(vt,"LI",{dir:!0});var Ov=l(to);cl=o(Ov,"P",{dir:!0});var Kv=l(cl);uf=o(Kv,"STRONG",{});var Dv=l(uf);od=g(Dv,`Joachim Brügge (Hg.): "Das Buch als Eingang zur 1969 Welt" (=Schriftenreihe des Stefan Zweig Centre 1970 Salzburg, hg. von  Hildemar Holl u.a., Bd. 1), 1971 Würzburg: Königshausen & Neumann, 2008.`),Dv.forEach(a),Kv.forEach(a),Ov.forEach(a),up=k(vt),ul=o(vt,"LI",{dir:!0});var Gv=l(ul);ld=o(Gv,"P",{dir:!0});var Hv=l(ld);ql=o(Hv,"STRONG",{});var Jv=l(ql);dp=g(Jv,`Joachim Brügge / Claudia M. Knispel (Hg.): Mozarts 1972 Orchesterwerke und Konzerte (=Das Mozart-Handbuch, 1973 hg. von Gernot Gruber, in Verbindung mit Dieter 1974 Borchmeyer, Bd. 1), Laaber: Laaber, 2007.`),Jv.forEach(a),Hv.forEach(a),Gv.forEach(a),df=k(vt),dl=o(vt,"LI",{dir:!0});var Oc=l(dl);cd=o(Oc,"P",{dir:!0});var I2=l(cd);Xl=o(I2,"STRONG",{});var Wv=l(Xl);fp=g(Wv,`Joachim Brügge / Wolfgang Gratzer / Otto Neumaier 1975 (Hg.): Bildmusik. Gerhard Rühm und die Kunst der 1976 Gegenwart, Saarbrücken: Pfau, 2007.`),Wv.forEach(a),I2.forEach(a),Oc.forEach(a),hp=k(vt),Yl=o(vt,"LI",{dir:!0});var Fv=l(Yl);Ks=o(Fv,"P",{dir:!0});var jv=l(Ks);fl=o(jv,"STRONG",{});var Vv=l(fl);ud=g(Vv,`Joachim Brügge /  Gerhard Ammerer (Hg.): 1977 Mozart interdisziplinär. Beiträge aus den Salzburger 1978 Ringvorlesungen zum Mozart-Jahr 2006 (=Wort und 1979 Musik. Salzburger akademische Beiträge, hg. von 1980 Ulrich Müller u.a., Bd. 64), Anif/Salzburg: 1981 Müller-Speiser, 2007.`),Vv.forEach(a),jv.forEach(a),Fv.forEach(a),pp=k(vt),hl=o(vt,"LI",{dir:!0});var Uv=l(hl);dd=o(Uv,"P",{dir:!0});var Zv=l(dd);Ql=o(Zv,"STRONG",{});var qv=l(Ql);gp=g(qv,`Joachim Brügge / Ulrike Kammerhofer-Aggermann 1982 (Hg.): Kulturstereotype und Unbekannte 1983 Kulturlandschaften am Beispiel von Amerika und 1984 Europa (=Wort und Musik. Salzburger akademische 1985 Beiträge, hg. von Ulrich Müller u.a., Bd. 66), 1986 Anif/Salzburg: Müller-Speiser, 2007.`),qv.forEach(a),Zv.forEach(a),Uv.forEach(a),uh=k(vt),no=o(vt,"LI",{dir:!0});var Ld=l(no);fd=o(Ld,"P",{dir:!0});var L2=l(fd);hd=o(L2,"STRONG",{});var Xv=l(hd);Lc=g(Xv,`Joachim Brügge / Gernot Gruber (Hg.): Mozart 1987 Lexikon (=Das Mozart-Handbuch, hg. von Gernot 1988 Gruber, in Verbindung mit Dieter Borchmeyer, Bd. 6), 1989 Laaber: Laaber, 2005.`),Xv.forEach(a),L2.forEach(a),Ld.forEach(a),pd=k(vt),gd=o(vt,"LI",{dir:!0});var Yv=l(gd);Rc=o(Yv,"P",{dir:!0});var Qv=l(Rc);xl=o(Qv,"STRONG",{});var xv=l(xl);ff=g(xv,`Joachim Brügge / Siegfried Mauser (Hg.): Sonderband 1990 Wolfgang Rihm Musik-Konzepte (Reihen-Hg. Ulrich 1991 Tadday):edition text+kritik 2004.`),xv.forEach(a),Qv.forEach(a),Yv.forEach(a),za=k(vt),ro=o(vt,"LI",{dir:!0});var e2=l(ro);pl=o(e2,"P",{dir:!0});var t2=l(pl);hf=o(t2,"STRONG",{});var nh=l(hf);md=g(nh,`Joachim Brügge / Franz Födermayr / Wolfgang Gratzer 1992 / Thomas Hochradner / Siegfried Mauser (Hg.): 1993 Musikgeschichte als Verstehensgeschichte. 1994 Festschrift Gernot Gruber, Tutzing: Schneider, 2004.`),nh.forEac
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1994return{c(){e=i("h2"),n=p("About"),r=z(),s=i("p"),c=p(`Klaus Aringer, born 1965 in Munich, studied musicology, history and german 1995 literature at the University of Munich, where he received his PhD in 1997. 1996 Between 1995 and 2005 he was assistant professor at the University of 1997 Tübingen (habilitation in 2003). Since 2005 he has been teaching as 1998 professor of music history at the University of Music and Dramatic Arts 1999 Graz. His special interest is, among others, the music of the Viennese 2000 Classics (orchestration and musical instruments), about which he wrote his 2001 habilitation thesis in 2003 (Instrumente und musikalischer Satz im Orchester 2002 der Wiener Klassiker Haydn, Mozart und Beethoven).`),h=z(),d=i("h2"),m=p("Publications"),b=z(),_=i("div"),v=i("div"),E=i("p"),y=i("strong"),I=p("Books:"),M=z(),T=i("p"),S=p(" "),A=z(),R=i("ol"),$=i("li"),q=i("p"),O=i("strong"),L=p(`Klaus Aringer / Ulrike Aringer-Grau / Bernhard 2003 Habla: Kulturelle Identität durch Musik? Das Burgenland 2004 und seine Nachbarn. Bericht über das Symposium der 2005 Universität für Musik und darstellende Kunst Graz 2006 Institut Oberschützen, 13. - 15. April 2007 (= Musica 2007 Pannonica, 5), Wien: Johann Kliment, 2009.`),C=z(),U=i("p"),Z=p(" "),G=z(),x=i("p"),X=i("strong"),ie=p("Editorship"),ce=z(),H=i("p"),J=p(" "),Y=z(),B=i("ol"),D=i("li"),Q=i("p"),de=i("strong"),ue=p(`Klaus Aringer / Franz Karl Prassl / Peter 2008 Revers / Christian Utz (Hg.): Geschichte und 2009 Gegenwart des musikalischen Hörens. Diskurse â 2010 Geschichte(n) â Poetiken (= klang-reden Schriften zur 2011 Musikalischen Rezeptions- und 2012 Interpretationsgeschichte, 17),  Freiburg 2013 i.Br.: Rombach, 2017.`),se=z(),fe=i("li"),_e=i("p"),ge=i("strong"),oe=p(`Klaus Aringer (Hg.): 50 Jahre Expositur und 2014 Institut Oberschützen der Kunstuniversität Graz: 2015 Dokumente, Erinnerungen, Bilder, Oberschützen: Institut 2016 Oberschützen, 2015.`),ee=z(),le=i("li"),te=i("p"),Me=i("strong"),De=p(`Jörg Martin / Klaus Aringer (Hg.): Der Komponist Helmut 2017 Bornefeld. Verzeichnis seines Nachlasses, Teil 2 2018 (=Musikernachlässe in baden-württembergischen 2019 Bibliotheken und Archiven, 1).`),Ne=z(),Te=i("li"),Ye=i("p"),Ue=i("strong"),me=p(`Klaus Aringer / Ulrike Aringer-Grau (Hg.): 2020 Johann Joseph Fux. Der Komponist, Oberschützen: Institut 2021 Oberschützen, 2015`),$e=z(),re=i("li"),ve=i("p"),Ie=i("strong"),Ge=p(`Klaus Aringer (Hg.): Zoltán Kodálys Kammermusik, 2022 Oberschützen: Institut Oberschützen, 2015.`),He=z(),pe=i("li"),ye=i("p"),be=i("strong"),tt=p(`Klaus Aringer (Hg.): "Der beliebteste, der 2023 gespielteste und genossenste Tonkünstler" - Studien zum 2024 Werk Ignaz Joseph Pleyels, Oberschützen: Institut 2025 Oberschützen, 2011.`),gt=z(),Qe=i("li"),Wt=i("p"),ke=i("strong"),Ce=p(`Klaus Aringer / Ann-Katrin Zimmermann / 2026 Manfred Hermann Schmid (Hg.): Im Zentrum Mozart. 2027 Festschrift für Manfred Hermann Schmid zum 60. 2028 Geburtstag, Tutzing: Schneider, 2010.`),nt=z(),bt=i("p"),Ft=p(" "),ot=z(),ze=i("p"),It=i("strong"),dt=p("Articles"),jt=z(),Je=i("p"),An=p(" "),St=z(),Ee=i("ol"),we=i("li"),Ct=i("p"),ft=i("strong"),Et=p(`Klaus Aringer: "Unübertreffliche Muster" - Mozart in 2029 der Instrumentationslehre von Johann Christian Lobe 2030 (1855), in: Mozart-Studien 16, Tutzing: Schneider, 2007.`),lt=z(),en=i("li"),zt=i("p"),tn=i("strong"),kt=p(`Klaus Aringer: Carl Maria von Webers 2031 "Klarinettenquintett" - Mozart als Vorbild?, in: "...in 2032 Liebe zerflossenes Gefühl...". Die Klarinette, Herne: 2033 Katzbichler, 2008, S. 122â133.`),Dn=z(),Lt=i("li"),yn=i("p"),Bt=i("strong"),Mn=p(`Klaus Aringer: "...meistens nur um eine Uebung in der 2034 Radierkunst zu machen"? Zu Leopold Mozarts Triosonaten 2035 op. 1, in: Mozart-Studien 18, Tutzing: Schneider, 2009, 2036 S. 199-210.`),nn=z(),At=i("li"),Vt=i("p"),hn=i("strong"),Pn=p(`Klaus Aringer: "Obligates Accompagnement" und 2037 Dramaturgie der Instrumente in Beethovens Septett, in: 2038 Im Zentrum Mozart. Festschrift für Manfred Hermann 2039 Schmid zum 60. Geburtstag, Tutzing: Schneider, 2010, S. 2040 305-322.`),pn=z(),Ze=i("li"),Ot=i("p"),yt=i("strong"),Tn=p(`Klaus Aringer: Technique and Aesthetics of Mahler's 2041 Large Orchestra, in: The Total Work of Art: Mahler's 2042 Eighth Symphony in Context, Wien: Universal Edition, 2043 2011.`),Rt=z(),Tr=i("li"),br=i("p"),Ir=i("strong"),Ut=p(`Klaus Aringer: Exkurs III: Orchesterbesetzungen und 2044 Instrumentation, in: Gustav Mahler. Interpretationen
2045 seiner Werke, Laaber: Laaber Verlag, 2011.`),Gn=z(),gn=i("li"),Zr=i("p"),Hn=i("strong"),In=p(`Klaus Aringer: Artikel âTabulaturâ, âIntavolierungâ, 2046 âLautentabulaturâ und âOrgeltabulaturâ, in: Lexikon der 2047 Musik der Renaissance, Laaber: Laaber Verlag, 2011.`),rn=z(),ir=i("li"),qr=i("p"),or=i("strong"),qe=p(`Klaus Aringer: Natur- und Ventilhörner bei Robert 2048 Schumann, in: Schumann-Studien 10, Sinzig: 2049 Studiopunkt-Verlag, 2012, S. 37-56.`),Zt=z(),an=i("li"),Xr=i("p"),sn=i("strong"),Sr=p(`Klaus Aringer: Aufführungstraditionen, in: Händels 2050 Kirchenmusik und vokale Kammermusik, Laaber: 2051 Laaber-Verlag, 2012.`),lr=z(),Er=i("li"),Ln=i("p"),ct=i("strong"),Rn=p(`Klaus Aringer: Artikel âSonate für Klavier Nr. 1 C-Dur 2052 op. 1â, âSonate für Klavier Nr. 2 Fis-Moll op. 2â, 2053 âSonate für Klavier Nr. 3 F-Moll op. 5â, in: Johannes 2054 Brahms. Interpretationen seiner Werke, Laaber: 2055 Laaber-Verlag, 2013.`),Lr=z(),on=i("li"),zr=i("p"),Kt=i("strong"),$n=p(`Klaus Aringer: Zwischen Kompositionsfaktur und 2056 Aufführungspraxis - Perspektiven der 2057 Instrumentationsanalyse bei Mozart, in: Mozartanalyse 2058 heute, Laaber: Laaber-Verlag, 2013, S. 53-68.`),Jn=z(),Wn=i("li"),Yr=i("p"),Fn=i("strong"),wn=p(`Klaus Aringer: Orgel- und Lautentabulaturen, in: 2059 Schrift und Klang in der Musik der Renaissance, Laaber: 2060 Laaber-Verlag, 2014, S. 42-62.`),jn=z(),Nn=i("li"),rt=i("p"),Cn=i("strong"),qt=p(`Klaus Aringer: Haydn, Neapel und die Lira organizzata, 2061 in: Die Wiener Klassiker und das Italien ihrer Zeit. 2062 Festschrift für Christian Speck zum 60. Geburtstag 2063 (=Studien zur Musik, 19), Paderborn: Fink, 2015, S. 2064 29-42.`),Vn=z(),mn=i("li"),Qr=i("p"),Un=i("strong"),Zn=p(`Klaus Aringer: Zur Aufführungspraxis in der 2065 Kirchenmusik der Mozart-Zeit, in: Mozarts Kirchenmusik, 2066 Lieder und Chormusik, hg. von Thomas Hochradner und 2067 Günther Massenkeil, Laaber: Laaber-Verlag, 2006 (Das 2068 Mozart-Handbuch, 4), S. 41â55.`),this.h()},l(Be){e=o(Be,"H2",{});var Bn=l(e);n=g(Bn,"About"),Bn.forEach(a),r=k(Be),s=o(Be,"P",{});var Rr=l(s);c=g(Rr,`Klaus Aringer, born 1965 in Munich, studied musicology, history and german 2069 literature at the University of Munich, where he received his PhD in 1997. 2070 Between 1995 and 2005 he was assistant professor at the University of 2071 Tübingen (habilitation in 2003). Since 2005 he has been teaching as 2072 professor of music history at the University of Music and Dramatic Arts 2073 Graz. His special interest is, among others, the music of the Viennese 2074 Classics (orchestration and musical instruments), about which he wrote his 2075 habilitation thesis in 2003 (Instrumente und musikalischer Satz im Orchester 2076 der Wiener Klassiker Haydn, Mozart und Beethoven).`),Rr.forEach(a),h=k(Be),d=o(Be,"H2",{});var qn=l(d);m=g(qn,"Publications"),qn.forEach(a),b=k(Be),_=o(Be,"DIV",{class:!0});var Xn=l(_);v=o(Xn,"DIV",{class:!0});var We=l(v);E=o(We,"P",{dir:!0});var cr=l(E);y=o(cr,"STRONG",{});var Aa=l(y);I=g(Aa,"Books:"),Aa.forEach(a),cr.forEach(a),M=k(We),T=o(We,"P",{dir:!0});var $r=l(T);S=g($r," "),$r.forEach(a),A=k(We),R=o(We,"OL",{});var Jr=l(R);$=o(Jr,"LI",{dir:!0});var vn=l($);q=o(vn,"P",{dir:!0});var Wr=l(q);O=o(Wr,"STRONG",{});var On=l(O);L=g(On,`Klaus Aringer / Ulrike Aringer-Grau / Bernhard 2077 Habla: Kulturelle Identität durch Musik? Das Burgenland 2078 und seine Nachbarn. Bericht über das Symposium der 2079 Universität für Musik und darstellende Kunst Graz 2080 Institut Oberschützen, 13. - 15. April 2007 (= Musica 2081 Pannonica, 5), Wien: Johann Kliment, 2009.`),On.forEac
2081h(a),Wr.forEach(a),vn.forEach(a),Jr.forEach(a),C=k(We),U=o(We,"P",{dir:!0});var xr=l(U);Z=g(xr," "),xr.forEach(a),G=k(We),x=o(We,"P",{dir:!0});var wr=l(x);X=o(wr,"STRONG",{});var Nr=l(X);ie=g(Nr,"Editorship"),Nr.forEach(a),wr.forEach(a),ce=k(We),H=o(We,"P",{dir:!0});var ur=l(H);J=g(ur," "),ur.forEach(a),Y=k(We),B=o(We,"OL",{});var at=l(B);D=o(at,"LI",{dir:!0});var ya=l(D);Q=o(ya,"P",{dir:!0});var ga=l(Q);de=o(ga,"STRONG",{});var kr=l(de);ue=g(kr,`Klaus Aringer / Franz Karl Prassl / Peter 2082 Revers / Christian Utz (Hg.): Geschichte und 2083 Gegenwart des musikalischen Hörens. Diskurse â 2084 Geschichte(n) â Poetiken (= klang-reden Schriften zur 2085 Musikalischen Rezeptions- und 2086 Interpretationsgeschichte, 17),  Freiburg 2087 i.Br.: Rombach, 2017.`),kr.forEach(a),ga.forEach(a),ya.forEach(a),se=k(at),fe=o(at,"LI",{dir:!0});var $t=l(fe);_e=o($t,"P",{dir:!0});var Cr=l(_e);ge=o(Cr,"STRONG",{});var ut=l(ge);oe=g(ut,`Klaus Aringer (Hg.): 50 Jahre Expositur und 2088 Institut Oberschützen der Kunstuniversität Graz: 2089 Dokumente, Erinnerungen, Bilder, Oberschützen: Institut 2090 Oberschützen, 2015.`),ut.forEach(a),Cr.forEach(a),$t.forEach(a),ee=k(at),le=o(at,"LI",{dir:!0});var Br=l(le);te=o(Br,"P",{dir:!0});var _n=l(te);Me=o(_n,"STRONG",{});var ea=l(Me);De=g(ea,`Jörg Martin / Klaus Aringer (Hg.): Der Komponist Helmut 2091 Bornefeld. Verzeichnis seines Nachlasses, Teil 2 2092 (=Musikernachlässe in baden-württembergischen 2093 Bibliotheken und Archiven, 1).`),ea.forEach(a),_n.forEac
2093h(a),Br.forEach(a),Ne=k(at),Te=o(at,"LI",{dir:!0});var ma=l(Te);Ye=o(ma,"P",{dir:!0});var Xt=l(Ye);Ue=o(Xt,"STRONG",{});var ln=l(Ue);me=g(ln,`Klaus Aringer / Ulrike Aringer-Grau (Hg.): 2094 Johann Joseph Fux. Der Komponist, Oberschützen: Institut 2095 Oberschützen, 2015`),ln.forEach(a),Xt.forEach(a),ma.forEach(a),$e=k(at),re=o(at,"LI",{dir:!0});var dr=l(re);ve=o(dr,"P",{dir:!0});var Ar=l(ve);Ie=o(Ar,"STRONG",{});var ts=l(Ie);Ge=g(ts,`Klaus Aringer (Hg.): Zoltán Kodálys Kammermusik, 2096 Oberschützen: Institut Oberschützen, 2015.`),ts.forEach(a),Ar.forEach(a),dr.forEach(a),He=k(at),pe=o(at,"LI",{dir:!0});var yr=l(pe);ye=o(yr,"P",{dir:!0});var Yn=l(ye);be=o(Yn,"STRONG",{});var Qn=l(be);tt=g(Qn,`Klaus Aringer (Hg.): "Der beliebteste, der 2097 gespielteste und genossenste Tonkünstler" - Studien zum 2098 Werk Ignaz Joseph Pleyels, Oberschützen: Institut 2099 Oberschützen, 2011.`),Qn.forEach(a),Yn.forEach(a),yr.forEach(a),gt=k(at),Qe=o(at,"LI",{dir:!0});var fr=l(Qe);Wt=o(fr,"P",{dir:!0});var bn=l(Wt);
2099ke=o(bn,"STRONG",{});var ta=l(ke);Ce=g(ta,`Klaus Aringer / Ann-Katrin Zimmermann / 2100 Manfred Hermann Schmid (Hg.): Im Zentrum Mozart. 2101 Festschrift für Manfred Hermann Schmid zum 60. 2102 Geburtstag, Tutzing: Schneider, 2010.`),ta.forEach(a),bn.forEach(a),fr.forEach(a),at.forEach(a),nt=k(We),bt=o(We,"P",{dir:!0});var Dt=l(bt);Ft=g(Dt," "),Dt.forEach(a),ot=k(We),ze=o(We,"P",{dir:!0});var xn=l(ze);It=o(xn,"STRONG",{});var Sn=l(It);dt=g(Sn,"Articles"),Sn.forEach(a),xn.forEach(a),jt=k(We),Je=o(We,"P",{dir:!0});var ns=l(Je);An=g(ns," "),ns.forEach(a),St=k(We),Ee=o(We,"OL",{});var Le=l(Ee);we=o(Le,"LI",{dir:!0});var Mr=l(we);Ct=o(Mr,"P",{dir:!0});var er=l(Ct);ft=o(er,"STRONG",{});var Fr=l(ft);Et=g(Fr,`Klaus Aringer: "Unübertreffliche Muster" - Mozart in 2103 der Instrumentationslehre von Johann Christian Lobe 2104 (1855), in: Mozart-Studien 16, Tutzing: Schneider, 2007.`),Fr.forEach(a),er.forEach(a),Mr.forEach(a),lt=k(Le),en=o(Le,"LI",{dir:!0});var hr=l(en);zt=o(hr,"P",{dir:!0});var va=l(zt);tn=o(va,"STRONG",{});var pr=l(tn);kt=g(pr,`Klaus Aringer: Carl Maria von Webers 2105 "Klarinettenquintett" - Mozart als Vorbild?, in: "...in 2106 Liebe zerflossenes Gefühl...". Die Klarinette, Herne: 2107 Katzbichler, 2008, S. 122â133.`),pr.forEach(a),va.forEach(a),hr.forEach(a),Dn=k(Le),Lt=o(Le,"LI",{dir:!0});var Or=l(Lt);yn=o(Or,"P",{dir:!0});var gr=l(yn);Bt=o(gr,"STRONG",{});var jr=l(Bt);Mn=g(jr,`Klaus Aringer: "...meistens nur um eine Uebung in der 2108 Radierkunst zu machen"? Zu Leopold Mozarts Triosonaten 2109 op. 1, in: Mozart-Studien 18, Tutzing: Schneider, 2009, 2110 S. 199-210.`),jr.forEach(a),gr.forEach(a),Or.forEach(a),nn=k(Le),At=o(Le,"LI",{dir:!0});var _a=l(At);Vt=o(_a,"P",{dir:!0});var Oe=l(Vt);hn=o(Oe,"STRONG",{});var Xe=l(hn);Pn=g(Xe,`Klaus Aringer: "Obligates Accompagnement" und 2111 Dramaturgie der Instrumente in Beethovens Septett, in: 2112 Im Zentrum Mozart. Festschrift für Manfred Hermann 2113 Schmid zum 60. Geburtstag, Tutzing: Schneider, 2010, S. 2114 305-322.`),Xe.forEach(a),Oe.forEach(a),_a.forEach(a),pn=k(Le),Ze=o(Le,"LI",{dir:!0});var mr=l(Ze);Ot=o(mr,"P",{dir:!0});var Ma=l(Ot);yt=o(Ma,"STRONG",{});var je=l(yt);Tn=g(je,`Klaus Aringer: Technique and Aesthetics of Mahler's 2115 Large Orchestra, in: The Total Work of Art: Mahler's 2116 Eighth Symphony in Context, Wien: Universal Edition, 2117 2011.`),je.forEach(a),Ma.forEach(a),mr.forEach(a),Rt=k(Le),Tr=o(Le,"LI",{dir:!0});var Vr=l(Tr);br=o(Vr,"P",{dir:!0});var na=l(br);Ir=o(na,"STRONG",{});var Ur=l(Ir);Ut=g(Ur,`Klaus Aringer: Exkurs III: Orchesterbesetzungen und 2118 Instrumentation, in: Gustav Mahler. Interpretationen 2119 seiner Werke, Laaber: Laaber Verlag, 2011.`),Ur.forEach(a),na.forEach(a),Vr.forEach(a),Gn=k(Le),gn=o(Le,"LI",{dir:!0});var Ba=l(gn);Zr=o(Ba,"P",{dir:!0});var Gt=l(Zr);Hn=o(Gt,"STRONG",{});var Pa=l(Hn);In=g(Pa,`Klaus Aringer: Artikel âTabulaturâ, âIntavolierungâ, 2120 âLautentabulaturâ und âOrgeltabulaturâ, in: Lexikon der 2121 Musik der Renaissance, Laaber: Laaber Verlag, 2011.`),Pa.forEach(a),Gt.forEach(a),Ba.forEach(a),rn=k(Le),ir=o(Le,"LI",{dir:!0});var vr=l(ir);qr=o(vr,"P",{dir:!0});var ra=l(qr);or=o(ra,"STRONG",{});var Kr=l(or);qe=g(Kr,`Klaus Aringer: Natur- und Ventilhörner bei Robert 2122 Schumann, in: Schumann-Studien 10, Sinzig: 2123 Studiopunkt-Verlag, 2012, S. 37-56.`),Kr.forEach(a),ra.forEach(a),vr.forEach(a),Zt=k(Le),an=o(Le,"LI",{dir:!0});var Is=l(an);Xr=o(Is,"P",{dir:!0});var Fe=l(Xr);sn=o(Fe,"STRONG",{});var Yt=l(sn);Sr=g(Yt,`Klaus Aringer: Aufführungstraditionen, in: Händels 2124 Kirchenmusik und vokale Kammermusik, Laaber: 2125 Laaber-Verlag, 2012.`),Yt.forEach(a),Fe.forEach(a),Is.forEach(a),lr=k(Le),Er=o(Le,"LI",{dir:!0});var ba=l(Er);Ln=o(ba,"P",{dir:!0});var js=l(Ln);ct=o(js,"STRONG",{});var Vs=l(ct);Rn=g(Vs,`Klaus Aringer: Artikel âSonate für Klavier Nr. 1 C-Dur 2126 op. 1â, âSonate für Klavier Nr. 2 Fis-Moll op. 2â, 2127 âSonate für Klavier Nr. 3 F-Moll op. 5â, in: Johannes 2128 Brahms. Interpretationen seiner Werke, Laaber
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2142return{c(){e=i("h2"),n=p("About"),r=z(),s=i("p"),c=p("Lars. E. Laubhold, born in 1971, started his career as an instrument maker and studied musicology in Salzburg, where he was assistant at the Forschungsinstitut für Salzburger Musikgeschichte (research institute for the music history of Salzburg). 2007/2008 he was assistant at Salzburg University. Since 2007 he has been part of a RISM project focusing on catalogising the music archive of the Salzburg Cathedral."),h=z(),d=i("h2"),m=p("Publications"),b=z(),_=i("div"),v=i("div"),E=i("p"),y=i("strong"),I=p("Books"),M=z(),T=i("ol"),S=i("li"),A=i("p"),R=i("strong"),$=p("Lars E. Laubhold: Von Nikisch bis Norrington: Beethovens 5. Sinfonie auf Tonträger. Ein Beitrag zur Geschichte der musikalischen Interpretation im Zeitalter ihrer technischen Reproduzierbarkeit, München: Text + Kritik, 2014."),q=z(),O=i("li"),L=i("p"),C=i("strong"),U=p("Lars E. Laubhold: Magie der Macht. Eine quellenkritische Studie zu Johann Ernst Altenburgs Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauker-Kunst (Halle 1795), Würzburg: Königshausen & Neumann,"),Z=z(),G=i("strong"),x=p("2009 (Salzburger Stier, 2)."),X=z(),ie=i("p"),ce=p(" "),H=z(),J=i("p"),Y=i("strong"),B=p("Articles"),D=z(),Q=i("ol"),de=i("li"),ue=i("p"),se=i("strong"),fe=p("Lars E. Laubhold / Eva Neumayr: "),_e=i("a"),ge=p("Kirchenmusik am Salzburger Dom in den ersten Jahrzehnten des 19. Jahrhunderts"),oe=p(", in: Salzburgs Musikgeschichte im Zeichen des Provinzialismus? Die ersten Jahrzehnte des 19. Jahrhunderts, hg. von Dominik Å edivý, Wien: Hollitzer, 2014, S. 29-44."),ee=z(),le=i("li"),te=i("p"),Me=i("strong"),De=p("Lars E. Laubhold / Eva Neumayr: "),Ne=i("a"),Te=p("Repertoire und Repertoireentwicklung in der Musik am Salzburger Dom in der ersten Hälfte des 19. Jahrhunderts. Beobachtungen am Musikalienbestand Dommusikarchiv im Archiv der Erzdiözese Salzburg"),Ye=p(", in: Salzburgs Musikgeschichte im Zeichen des Provinzialismus? Die ersten Jahrzehnte des 19. Jahrhunderts, hg. von Dominik Å edivý, Wien: Hollitzer, 2014, S. 45-69."),Ue=p(" "),me=z(),$e=i("li"),re=i("p"),ve=i("strong"),Ie=p('Lars E. Laubhold: Das Musikarchiv des Salzburger Doms. Katalogisierung einst und jetzt, Vortrag vom 21.04.2012, publiziert durch die Forschungsplattform "Salzburger Musikgeschichte".'),Ge=z(),He=i("li"),pe=i("p"),ye=i("strong"),be=p("Lars E. Laubhold: "),tt=i("a"),gt=p("Luigi Gatti, Hieronymus Colloredo und die Salzburger Trompetenmusik ihrer Zeit"),Qe=p(", in: Keine Chance für Mozart. Fürsterzbischof Hieronymus Colloredo und sein letzter Hofkapellmeister Luigi Gatti (1740-1817). Symposiumsbericht, hg. von Eva Neumayr ubd Lars E. Laubhold, Lucca: Libreria Musicale Italiana, 2013 (=Veröffentlichungen zur Salzburger Musikgeschichte, 10, zugl. Musicologica Transalpina, 2, zugl. Schriftenreihe des Archivs der Erzdiözese Salzburg, 12), S. 117â143."),Wt=z(),ke=i("li"),Ce=i("p"),nt=i("strong"),bt=p("Lars E. Laubhold / Ernst Hintermaier / Eva Neumayr: "),Ft=i("a"),ot=p("Luigi (Maria Baldassare) Gatti (1740â1817). Salzburgs letzter Hofkapellmeister"),ze=p(", in: Keine Chance für Mozart. Fürsterzbischof Hieronymus Colloredo und sein letzter Hofkapellmeister Luigi Gatti (1740-1817). Symposiumsbericht, hg. von Eva Neumayr ubd Lars E. Laubhold, Lucca: Libreria Musicale Italiana, 2013 (=Veröffentlichungen zur Salzburger Musikgeschichte, 10, zugl. Musicologica Transalpina, 2, zugl. Schriftenreihe des Archivs der Erzdiözese Salzburg, 12), S. 23â67."),It=z(),dt=i("li"),jt=i("p"),Je=i("strong"),An=p("Lars E. Laubhold / Eva Neumayr: "),St=i("a"),Ee=p("Luigi Gatti and the Catalogus Musicalis of the Salzburg Cathedral"),we=p(", in: Proceedings of the Luigi-Gatti-Symposium. Mantua 2010, hg. von Alessandro Lattanzi, Lucca: Libreria Musicale Italiana [in Druck]."),Ct=z(),ft=i("li"),Et=i("p"),lt=i("strong"),en=p("Lars E. Laubhold / Eva Neumayr: "),zt=i("a"),tn=p("Luigi Gatti and the Collection of Salzburg Sources in the Library of the Conservatorio Luigi Cherubini in Florence"),kt=p(", in: Proceedings of the Luigi-Gatti-Symposium. Mantua 2010, hg. von Alessandro Lattanzi, Lucca: Librer
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2142,p:Se,i:Se,o:Se,d(Fe){Fe&&a(e),Fe&&a(r),Fe&&a(s),Fe&&a(h),Fe&&a(d),Fe&&a(b),Fe&&a(_)}}}class Xk extends ht{constructor(e){super(),pt(this,e,null,qk,it,{})}}function Yk(u){let e,n,r,s,c,h,d,m,b,_,v,E,y,I,M,T,S,A;return{c(){e=i("h2"),n=p("About"),r=z(),s=i("p"),c=p("Dr. Matthias Röder is an award-winning music and technology strategist. He is Co-Founder and Managing Partner at The Mindshift, a consultancy on creative leadership and innovation strategy. Matthias currently serves as a board member of the Karajan Foundation and is the Managing Director of the Eliette and Herbert von Karajan Institute. He is also a member of the board of trustees of the Mozarteum Foundation. In 2017, Matthias founded the Karajan Music Tech Conference, a cross-industry event to promote breakthrough technologies in music, media and audio. He is also the founder of the Classical Music Hack Day series which he launched in 2013. Together with his wife, Seda Röder, Matthias co-founded the Sonophilia Foundation, a non-profit that promotes a scientific approach to creativity. Matthias has won numerous prizes and accolades for his work, including most recently, the âGame Changerâ Award of the Chamber of Commerce Salzburg. He is a sought-after speaker and lecturer who has taught at Harvard University, the Change & Innovation Management Program at University of St. Gall, and Salzburg University. He holds a PhD in music from Harvard University and is an alumnus of the Mozarteum University Salzburg."),h=z(),d=i("h2"),m=p("Publications"),b=z(),_=i("div"),v=i("strong"),E=p("Articles"),y=z(),I=i("ol"),M=i("li"),T=i("p"),S=i("strong"),A=p("Matthias Röder: Die Europahymne. Eine Zusammenfassung des Referats vom 10. Juni 2016, in: Salzburgs Hymnen von 1816 bis heute. Dokumentation einer Tagung im Rahmen von âSalzburg 20.16â für den Arbeitsschwerpunkt Salzburger Musikgeschichte an der Universität Mozarteum Salzburg, hg. von Thomas Hochradner unter Mitarbeit von Julia Lienbacher, Wien: LIT, 2017, S. 179-184."),this.h()},l(R){e=o(R,"H2",{});var $=l(e);n=g($,"About"),$.forEach(a),r=k(R),s=o(R,"P",{});var q=l(s);c=g(q,"Dr. Matthias Röder is an award-winning music and technology strategist. He is Co-Founder and Managing Partner at The Mindshift, a consultancy on creative leadership and innovation strategy. Matthias currently serves as a board member of the Karajan Foundation and is the Managing Director of the Eliette and Herbert von Karajan Institute. He is also a member of the board of trustees of the Mozarteum Foundation. In 2017, Matthias founded the Karajan Music Tech Conference, a cross-industry event to promote breakthrough technologies in music, media and audio. He is also the founder of the Classical Music Hack Day series which he launched in 2013. Together with his wife, Seda Röder, Matthias co-founded the Sonophil
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2142return{c(){e=i("h2"),n=p("About"),r=z(),s=i("p"),c=p(`Rainer J. Schwob was born in Innsbruck. Education in piano and church organ. 2143 Studies in Musicology and Ancient History at the Universities of Graz and 2144 Vienna (Austria), in 2004 doctorate (PhD) in Vienna with a thesis on the 2145 reception of Claudio Monteverdi in the 20th century. Research projects on 2146 the early reception of Mozart in periodicals, teaching at the University of 2147 Vienna. Since 2014 postdoctoral university assistant at Mozarteum University 2148 Salzburg with studies in practical interpretations of Mozartâs music. 2149 Current research project is a general handbook on interpretation studies 2150 (performance studies).`),h=z(),d=i("h2"),m=p("Publications"),b=z(),_=i("div"),v=i("p"),E=i("strong"),y=p("Books"),I=z(),M=i("p"),T=i("strong"),S=p(" "),A=z(),R=i("ol"),$=i("li"),q=i("p"),O=i("strong"),L=p("Rainer J. Schwob: Claudio Monteverdis âLâincoronazione di Poppeaâ im 20. Jahrhundert, Dissertation, Universität Wien, Dezember 2003."),C=z(),U=i("li"),Z=i("p"),G=i("strong"),x=p("Rainer J. Schwob: Klavierauszug und Klarvierskizze bei Alban Berg. Untersuchungen zur Rolle des Klaviers als âHilfsmittelâ, Anif / Salzburg: Mueller-Speiser, 2000 (Wort und Musik; 46): mit Notenanhang und engl. Zusammenfassung [erweiterte Fassung der Diplomarbeit von 1998]."),X=z(),ie=i("ol"),ce=i("li"),H=i("p"),J=i("strong"),Y=p("Rez. von Harald Ossberger in: Ãsterreichische Musikzeitschrift 56. Jg. (2001), Heft 11â12, S. 83â84."),B=z(),D=i("li"),Q=i("p"),de=i("strong"),ue=p("Rez. von Herwig Knaus in: Musikerziehung (Wien) 55. Jg. (2001/2002), [H. 4 (April)], S. 319."),se=z(),fe=i("li"),_e=i("p"),ge=i("strong"),oe=p("Rez. von Günter Mössmer in: Musicologica Austriaca, Jahresschrift der Ãsterreichischen Gesellschaft für Musikwissenschaft, 21. Jg. (2002), S. 263â266."),ee=z(),le=i("li"),te=i("p"),Me=i("strong"),De=p("Rainer J. Schwob: Klavierauszug und Klavierskizze bei Alban Berg. Untersuchungen zur Rolle des Klaviers als âHilfsmittelâ, Diplomarbeit, Universität Wien, Juli 1998, 132 S."),Ne=z(),Te=i("p"),Ye=i("strong"),Ue=p(" "),me=z(),$e=i("p"),re=i("strong"),ve=p("Articles in books and journals"),Ie=z(),Ge=i("p"),He=i("strong"),pe=p(" "),ye=z(),be=i("ol"),tt=i("li"),gt=i("p"),Qe=i("strong"),Wt=p("Rainer J. Schwob: Zur Geschichte des Salzburger Fernsehopernpreises, in: Das Wohnzimmer als Loge. Von der Fernsehoper zum medialen Musiktheater, hrsg. von Matthias Henke und Sara Beimdieke, Würzburg: Königshausen & Neumann, 2016 (Thurnauer Schriften zum Musiktheater, 32), S. 43â73."),ke=z(),Ce=i("li"),nt=i("p"),bt=i("strong"),Ft=p("Rainer J. Schwob: Explosion â Zum Anfang von Schuberts Impromptus D 899, in: Kürzen. Gedenkschrift für Manfred Angerer, hg. von Wolfgang Fuhrmann, Ioana Geanta, Markus Grassl und Dominik Å edivý, Wien: Praesens Verlag, 2016, S. 209â216."),ot=z(),ze=i("li"),It=i("p"),dt=i("strong"),jt=p("Rainer J. Schwob: La indistruttiblità di Tito: Zur Geschichte einer oft totgesagten Krönungsoper, in: PLUS Kultur. Atelier-Gespräche III, hg. von Sabine Coelsch-Foisner, Salzburg: Verlag Anton Pustet, 2015, S. 174â179 (Anmerkungen S. 345â346)."),Je=z(),An=i("li"),St=i("p"),Ee=i("strong"),we=p("Rainer J. Schwob: Mozarts Klaviersonaten: Interpretationen im Vergleich, in: Zur Interpretation von W. A. Mozarts Kammermusik, hg. von Joachim Brügge, Freiburg i. Br., Berlin, Wien: Rombach, 2015 (Rombach Wissenschaften â klangâreden, 14), S. 15â89."),Ct=z(),ft=i("li"),Et=i("p"),lt=i("strong"),en=p("Rainer J. Schwob: Mozarts Klavierquartette, interpretiert, in: Zur Interpretation von W. A. Mozarts Kammermusik, hg. von Joachim Brügge, Freiburg i. Br., Berlin, Wien: Rombach, 2015 (Rombach Wissenschaften â klangâreden, 14), S. 125â152."),zt=z(),tn=i("li"),kt=i("p"),Dn=i("strong"),Lt=p("Rainer J. Schwob / Wolfgang Gratzer: Inegales Spiel. Mozarts Sonata facile, 1965 von Friedrich Gulda interpretiert, in: Zur Interpretation von W. A. Mozarts Kammermusik, hg. von Joachim Brügge, Freiburg i. Br.: Rombach, Berlin, Wien, 2015 (Rombach Wissenschaften â klangâreden, 14), S. 199â237."),yn=z(),Bt=i("li"),Mn=i("p"),nn=i("strong"),At=p("Rainer J. Schwob: Salzburg auf dem Weg zur Mozartstadt. Zur Mozart-Rezeption in der ersten Hälfte des 19. Jahrhun
2150derts, in: Salzburgs Musikgeschichte im Zeichen des Provinzialismus? Die ersten Jahrzehnte des 19. Jahrhunderts, Bericht einer Tagung der Forschungsplattform âSalzburger Musikgeschichteâ, 23. bis 25. September 2012, hg. von Dominik Å edivý, Wien: Hollitzer Wissenschaftsverlag, 2014 (Veröffentlichungen der Forschungsplattform âSalzburger Musikgeschichteâ, 2), S. 346â369."),Vt=z(),hn=i("li"),Pn=i("p"),pn=i("strong"),Ze=p("Rainer J. Schwob: Mozart und die Anderen â Komponistenvergleiche in frühen Musikzeitschriften, in: Wiener Figaro, Mitteilungsblatt der Mozartgemeinde Wien, Teil 1: 71./20. Jg., Heft 3 (September 2014), S. 4â10; Teil 2: 71./20. Jg., Heft 4 (Dezember 2014), S.  3â9."),Ot=z(),yt=i("li"),Tn=i("p"),Rt=i("strong"),Tr=p("Rainer J. Schwob: Die Haydn-Rezeption in Deutschland und Ãsterreich um 1800, in: Aspekte der Haydnrezeption, Beiträge der gleichnamigen Tagung vom 20. bis 22. November 2009 in Salzburg, hg. von Joachim Brügge und Ulrich Leisinger, Freiburg i. Br., Wien, Berlin: Rombach, 2011 (Rombach Wissenschaften â klangâreden, 6), S. 33â59."),br=z(),Ir=i("li"),Ut=i("p"),Gn=i("strong"),gn=p("Rainer J. Schwob / Ramona Hocker: âWie klingt die Passion?â Frank Martins musikalische Metamorphosen von Passionsdarstellungen, in: Wie Bilder klingen, Tagungsband zum Symposium Musik nach Bildern (Innsbruck, 16.â18. April 2010), hg. von Lukas Christensen und Monika Fink, Berlin, Münster, Wien: Lit Verlag, 2011 (Neue Innsbrucker Beiträge zur Musikwissenschaft, 1), S. 139â158 und Farbtafeln 9â14."),Zr=z(),Hn=i("li"),In=i("p"),rn=i("strong"),ir=p("Rainer J. Schwob: Nikolaus Harnoncourt und die Wiener Symphoniker, in: Ereignis Klangrede. Nikolaus Harnoncourt als Dirigent und Musikdenker [Beiträge zum Symposion des Instituts für Musikalische Interpretations- und Rezeptionsgeschichte, Universität Mozarteum, Salzburg, 24.â26. Januar 2008], hg. von Wolfgang Gratzer, Freiburg i. Br., Wien, Berlin: Rombach, 2009 (Rombach Wissenschaften â klangâreden, 3), S. 81â105."),qr=z(),or=i("li"),qe=i("p"),Zt=i("strong"),an=p("Rainer J. Schwob: Ansätze zu einem Verständnis von Aufführungspraxis im frühen 19. Jahrhundert anhand von Texten zu Wolfgang Amadeus Mozart, in: Beiträge zur Interpretationsästhetik und Hermeneutik-Diskussion, hg. von Claus Bockmaier, Laaber: Laaber-Verlag, 2009 (Schriften zur musikalischen Hermeneutik, 10), S. 267â285."),Xr=z(),sn=i("li"),Sr=i("p"),lr=i("strong"),Er=p("Rainer J. Schwob: Mozart und andere Komponisten in frühen Musikzeitschriften, in: Mozarts literarische Spuren. Werk und Leben des Komponisten im literarischen Diskurs vom späten 18. Jahrhundert bis zur Gegenwart, Ergebnisse des Symposiums in Wroclaw/Breslau 20.â23. November 2006, hg. von Lucjan Puchalski. Wien: Praesens Verlag, 2008. S. 31â49."),Ln=z(),ct=i("li"),Rn=i("p"),Lr=i("strong"),on=p("Rainer J. Schwob: Partner oder Rivalen? Italienische Oper und deutsches Singspiel in der Ãra Josephs II, in: Mozart und Salieri â Partner oder Rivalen? Das Fest in der Orangerie zu Schönbrunn vom 7. Februar 1786, hg. von Paolo Budroni, Göttingen: V&R unipress / Vienna University Press, 2008, S. 75â82."),zr=z(),Kt=i("li"),$n=i("p"),Jn=i("strong"),Wn=p("Rainer J. Schwob: Ernst Kreneks Bearbeitung von Claudio Monteverdis Lâincoronazione di Poppea, in: Studien zur Musikwissenschaft, Beihefte der Denkmäler der Tonkunst in Ãsterreich; 53. Tutzing: H. Schneider, 2007, S. 219â270."),Yr=z(),Fn=i("li"),wn=i("p"),jn=i("strong"),Nn=p("Rainer J. Schwob: Konstanten und Entwicklungen in Einspielungen der letzten drei Sinfonien Mozarts (KV 543, KV 550 und KV 551) durch die Wiener Philharmoniker, in: Mozarts letzte drei Sinfonien. Stationen ihrer Interpretationsgeschichte [Beiträge zum Symposion Salzburg 5.â7. Dezember 2006], hg. von Joachim Brügge, Wolfgang Gratzer und Thomas Hochradner, Freiburg i. Br., Berlin, Wien: Rombach Verlag, 2008 (Rombach Wissenschaften â klangâreden, 1), S. 209â239."),rt=z(),Cn=i("li"),qt=i("p"),Vn=i("strong"),mn=p("Rainer J. Schwob: W. A. Mozart im Spiegel des Musikjournalismus bis 1828. Ein Projekt zur Erforschung der frühen Mozart-Rezeption, in: Mozart-Jahrbuch 2003/2004, Kassel u. a. 2005, S. 253â257."),Qr=z(),Un=i("p"),Zn=i("strong"),Be=p(" "),Bn=z(),Rr=i("p"),qn=i("strong"),Xn=p("Articles in lexicons"),We=z(),cr=i("p"),Aa=i("strong"),$r=p(" "),Jr=z(),vn=i("ol"),Wr=i("li"),On=i("p"),xr=i("strong"),wr=p("Artikel âMozart, Carl Thomasâ und Art
2150ikel âMozart, Franz Xaver Wolfgangâ, in: Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, Zweite, neubearbeitete Ausgabe hrsg. von Ludwig Finscher, Kassel: Bärenreiter, Personenteil [MGG2P], Bd. 12 (2004), Sp. 758 [Carl Thomas] bzw. Sp. 758â759 [Franz Xaver Wolfgang]."),Nr=z(),ur=i("li"),at=i("p"),ya=i("strong"),ga=p("Artikel âKlavierstückeâ, âFantasien für Klavierâ, âTänze für Klavierâ, âNotenbücherâ, âNotenbuch für Maria Anna (Nannerl)â, âLondoner Skizzenbuchâ, âVariationen für Klavierâ, âOrgelwerkeâ und âGlasharmonikaâ. â Artikel âJohann Nepomuk Hummelâ, âMozart als Klavierlehrerâ, âAlbert Lortzingâ, âMozart, Carl Thomas und Franz Xaver Wolfgang (Amadeus)â, in: Das Mozart-Lexikon, hg. von Gernot Gruber und Joachim Brügge, Laaber: Laaber-Verlag, 2005 (Das Mozart-Handbuch, 6)."),kr=z(),$t=i("p"),Cr=i("strong"),ut=p(" "),Br=z(),_n=i("p"),ea=i("strong"),ma=p("Editorship"),Xt=z(),ln=i("p"),dr=i("strong"),Ar=p(" "),ts=z(),yr=i("ol"),Yn=i("li"),Qn=i("p"),fr=i("strong"),bn=p("Rainer J. Schwob / Ramona Hocker (Hg.): Johann Joseph Fux: Missa Sancti Joannis Nepomucensis K 34a, Wien: Hollitzer Verlag, 2016 (Johann Joseph Fux: Werke, Serie A: Kirchenmusik, Reihe I: Messe, Requiem, Bd. 1). "),ta=z(),Dt=i("li"),xn=i("p"),Sn=i("strong"),ns=p("Rainer J. Schwob (Hg.): W. A. Mozart im Spiegel des Musikjournalismus, Deutschsprachiger Raum, 1782â1800, Edition, vorgelegt und kommentiert von Rainer J. Schwob, Stuttgart: Carus, 2015 (Beiträge zur Mozart-Dokumentation, hrsg. von der Internationalen Stiftung Mozarteum, 1)."),Le=z(),Mr=i("ol"),er=i("li"),Fr=i("p"),hr=i("strong"),va=p("Rez. von Anne-Catherine Simon in: Die Presse 28.1.2016, Feuilleton, S. 23."),pr=z(),Or=i("li"),gr=i("p"),jr=i("strong"),_a=p("Rez. von Peter Sühring in: Forum Musikbibliothek 37. Jg. (2016), H. 2, S. 68â71."),this.h()},l(Oe){e=o(Oe,"H2",{});var Xe=l(e);n=g(Xe,"About"),Xe.forEach(a),r=k(Oe),s=o(Oe,"P",{});var mr=l(s);c=g(mr,`Rainer J. Schwob was born in Innsbruck. Education in piano and church organ. 2151 Studies in Musicology and Ancient History at the Universities of Graz and 2152 Vienna (Austria), in 2004 doctorate (PhD) in Vienna with a thesis on the 2153 reception of Claudio Monteverdi in the 20th century. Research projects on 2154 the early reception of Mozart in periodicals, teaching at the University of 2155 Vienna. Since 2014 postdoctoral university assistant at Mozarteum University 2156 Salzburg with studies in practical interpretations of Mozartâs music. 2157 Current research project is a general handbook on interpretation studies 2158 (performance studies).`),mr.forEach(a),h=k(Oe),d=o(Oe,"H2",{});var Ma=l(d);m=g(Ma,"Publications"),Ma.forEach(a),b=k(Oe),_=o(Oe,"DIV",{class:!0});var je=l(_);v=o(je,"P",{dir:!0});var Vr=l(v);E=o(Vr,"STRONG",{});var na=l(E);y=g(na,"Books"),na.forEach(a),Vr.forEach(a),I=k(je),M=o(je,"P",{dir:!0});var Ur=l(M);T=o(Ur,"STRONG",{});var Ba=l(T);S=g(Ba," "),Ba.forEach(a),Ur.forEach(a),A=k(je),R=o(je,"OL",{});var Gt=l(R);$=o(Gt,"LI",{dir:!0});var Pa=l($);q=o(Pa,"P",{dir:!0});var vr=l(q);O=o(vr,"STRONG",{});var ra=l(O);L=g(ra,"Rainer J. Schwob: Claudio Monteverdis âLâincoronazione di Poppeaâ im 20. Jahrhundert, Dissertation, Universität Wien, Dezember 2003."),ra.forEach(a),vr.forEach(a),Pa.forEach(a),C=k(Gt),U=o(Gt,"LI",{dir:!0});var Kr=l(U);Z=o(Kr,"P",{dir:!0});var Is=l(Z);G=o(Is,"STRONG",{});var Fe=l(G);x=g(Fe,"Rainer J. Schwob: Klavierauszug und Klarvierskizze bei Alban Berg. Untersuchungen zur Rolle des Klaviers als âHilfsmittelâ, Anif / Salzburg: Mueller-Speiser, 2000 (Wort und Musik; 46): mit Notenanhang und engl. Zusammenfassung [erweiterte Fassung der Diplomarbeit von 1998]."),Fe.forEach(a),Is.forEach(a),X=k(Kr),ie=o(Kr,"OL",{});var Yt=l(ie);ce=o(Yt,"LI",{dir:!0});var ba=l(ce);H=o(ba,"P",{dir:!0});var js=l(H);J=o(js,"STRONG",{});var Vs=l(J);Y=g(Vs,"Rez. von Harald Ossberger in: Ãsterreichische Musikzeitschrift 56. Jg. (2001), Heft 11â12, S. 83â84."),Vs.forEach(a),js.forEach(a),ba.forEach(a),B=k(Yt),D=o(Yt,"LI",{dir:!0});var Mt=l(D);Q=o(Mt,"P",{dir:!0});var Qt=l(Q);de=o(Qt,"STRONG",{});var aa=l(de);ue=g(aa,"Rez. von Herwig Knaus in: Musikerziehung (Wien) 55. Jg. (2001/2002), [H. 4 (April)], S. 319."),aa.forEac
2158h(a),Qt.forEach(a),Mt.forEach(a),se=k(Yt),fe=o(Yt,"LI",{dir:!0});var sa=l(fe);_e=o(sa,"P",{dir:!0});var Us=l(_e);ge=o(Us,"STRONG",{});var ia=l(ge);oe=g(ia,"Rez. von Günter Mössmer in: Musicologica Austriaca, Jahresschrift der Ãsterreichischen Gesellschaft für Musikwissenschaft, 21. Jg. (2002), S. 263â266."),ia.forEach(a),Us.forEach(a),sa.forEach(a),Yt.forEach(a),Kr.forEach(a),ee=k(Gt),le=o(Gt,"LI",{dir:!0});var rs=l(le);te=o(rs,"P",{dir:!0});var Oa=l(te);Me=o(Oa,"STRONG",{});var as=l(Me);De=g(as,"Rainer J. Schwob: Klavierauszug und Klavierskizze bei Alban Berg. Untersuchungen zur Rolle des Klaviers als âHilfsmittelâ, Diplomarbeit, Universität Wien, Juli 1998, 132 S."),as.forEach(a),Oa.forEach(a),rs.forEach(a),Ne=k(Gt),Gt.forEach(a),Te=o(je,"P",{dir:!0});var Dr=l(Te);Ye=o(Dr,"STRONG",{});var Ka=l(Ye);Ue=g(Ka," "),Ka.forEach(a),Dr.forEach(a),me=k(je),$e=o(je,"P",{dir:!0});var oa=l($e);re=o(oa,"STRONG",{});var Pi=l(re);ve=g(Pi,"Articles in books and journals"),Pi.forEach(a),oa.forEach(a),Ie=k(je),Ge=o(je,"P",{dir:!0});var Zs=l(Ge);He=o(Zs,"STRONG",{});var Ke=l(He);pe=g(Ke," "),Ke.forEach(a),Zs.forEach(a),ye=k(je),be=o(je,"OL",{});var Pe=l(be);tt=o(Pe,"LI",{dir:!0});var qs=l(tt);gt=o(qs,"P",{dir:!0});var Ta=l(gt);Qe=o(Ta,"STRONG",{});var lo=l(Qe);Wt=g(lo,"Rainer J. Schwob: Zur Geschichte des Salzburger Fernsehopernpreises, in: Das Wohnzimmer als Loge. Von der Fernsehoper zum medialen Musiktheater, hrsg. von Matthias Henke und Sara Beimdieke, Würzburg: Königshausen & Neumann, 2016 (Thurnauer Schriften zum Musiktheater, 32), S. 43â73."),lo.forEach(a),Ta.forEach(a),qs.forEach(a),ke=k(Pe),Ce=o(Pe,"LI",{dir:!0});var co=l(Ce);nt=o(co,"P",{dir:!0});var Da=l(nt);bt=o(Da,"STRONG",{});var En=l(bt);Ft=g(En,"Rainer J. Schwob: Explosion â Zum Anfang von Schuberts Impromptus D 899, in: Kürzen. Gedenkschrift für Manfred Angerer, hg. von Wolfgang Fuhrmann, Ioana Geanta, Markus Grassl und Dominik Å edivý, Wien: Praesens Verlag, 2016, S. 209â216."),En.forEach(a),Da.forEach(a),co.forEach(a),ot=k(Pe),ze=o(Pe,"LI",{dir:!0});var Ls=l(ze);It=o(Ls,"P",{dir:!0});var Xs=l(It);dt=o(Xs,"STRONG",{});var Ys=l(dt);jt=g(Ys,"Rainer J. Schwob: La indistruttiblità di Tito: Zur Geschichte einer oft totgesagten Krönungsoper, in: PLUS Kultur. Atelier-Gespräche III, hg. von Sabine Coelsch-Foisner, Salzburg: Verlag Anton Pustet, 2015, S. 174â179 (Anmerkungen S. 345â346)."),Ys.forEach(a),Xs.forEach(a),Ls.forEach(a),Je=k(Pe),An=o(Pe,"LI",{dir:!0});var ss=l(An);St=o(ss,"P",{dir:!0});var uo=l(St);Ee=o(uo,"STRONG",{});var Qs=l(Ee);we=g(Qs,"Rainer J. Schwob: Mozarts Klaviersonaten: Interpretationen im Vergleich, in: Zur Interpretation von W. A. Mozarts Kammermusik, hg. von Joachim Brügge, Freiburg i. Br., Berlin, Wien: Rombach, 2015 (Rombach Wissenschaften â klangâreden, 14), S. 15â89."),Qs.forEach(a),uo.forEach(a),ss.forEach(a),Ct=k(Pe),ft=o(Pe,"LI",{dir:!0});var is=l(ft);Et=o(is,"P",{dir:!0});var os=l(Et);lt=o(os,"STRONG",{});var fo=l(lt);en=g(fo,"Rainer J. Schwob: Mozarts Klavierquartette, interpretiert, in: Zur Interpretation von W. A. Mozarts Kammermusik, hg. von Joachim Brügge, Freiburg i. Br., Berlin, Wien: Rombach, 2015 (Rombach Wissenschaften â klangâreden, 14), S. 125â152."),fo.forEach(a),os.forEach(a),is.forEach(a),zt=k(Pe),tn=o(Pe,"LI",{dir:!0});var xs=l(tn);kt=o(xs,"P",{dir:!0});var ls=l(kt);Dn=o(ls,"STRONG",{});var cs=l(Dn);Lt=g(cs,"Rainer J. Schwob / Wolfgang Gratzer: Inegales Spiel. Mozarts Sonata facile, 1965 von Friedrich Gulda interpretiert, in: Zur Interpretation von W. A. Mozarts Kammermusik, hg. von Joachim Brügge, Freiburg i. Br.: Rombach, Berlin, Wien, 2015 (Rombach Wissenschaften â klangâreden, 14), S. 199â237."),cs.forEach(a),ls.forEac
2158h(a),xs.forEach(a),yn=k(Pe),Bt=o(Pe,"LI",{dir:!0});var ho=l(Bt);Mn=o(ho,"P",{dir:!0});var ei=l(Mn);nn=o(ei,"STRONG",{});var us=l(nn);At=g(us,"Rainer J. Schwob: Salzburg auf dem Weg zur Mozartstadt. Zur Mozart-Rezeption in der ersten Hälfte des 19. Jahrhunderts, in: Salzburgs Musikgeschichte im Zeichen des Provinzialismus? Die ersten Jahrzehnte des 19. Jahrhunderts, Bericht einer Tagung der Forschungsplattform âSalzburger Musikgeschichteâ, 23. bis 25. September 2012, hg. von Dominik Å edivý, Wien: Hollitzer Wissenschaftsverlag, 2014 (Veröffentlichungen der Forschungsplattform âSalzburger Musikgeschichteâ, 2), S. 346â369."),us.forEach(a),ei.forEach(a),ho.forEach(a),Vt=k(Pe),hn=o(Pe,"LI",{dir:!0});var ds=l(hn);Pn=o(ds,"P",{dir:!0});var po=l(Pn);pn=o(po,"STRONG",{});var go=l(pn);Ze=g(go,"Rainer J. Schwob: Mozart und die Anderen â Komponistenvergleiche in frühen Musikzeitschriften, in: Wiener Figaro, Mitteilungsblatt der Mozartgemeinde Wien, Teil 1: 71./20. Jg., Heft 3 (September 2014), S. 4â10; Teil 2: 71./20. Jg., Heft 4 (Dezember 2014), S.  3â9."),go.forEach(a),po.forEach(a),ds.forEach(a),Ot=k(Pe),yt=o(Pe,"LI",{dir:!0});var Ia=l(yt);Tn=o(Ia,"P",{dir:!0});var _r=l(Tn);Rt=o(_r,"STRONG",{});var Rs=l(Rt);Tr=g(Rs,"Rainer J. Schwob: Die Haydn-Rezeption in Deutschland und Ãsterreich um 1800, in: Aspekte der Haydnrezeption, Beiträge der gleichnamigen Tagung vom 20. bis 22. November 2009 in Salzburg, hg. von Joachim Brügge und Ulrich Leisinger, Freiburg i. Br., Wien, Berlin: Rombach, 2011 (Rombach Wissenschaften â klangâreden, 6), S. 33â59."),Rs.forEach(a),_r.forEach(a),Ia.forEach(a),br=k(Pe),Ir=o(Pe,"LI",{dir:!0});var ti=l(Ir);Ut=o(ti,"P",{dir:!0});var ni=l(Ut);Gn=o(ni,"STRONG",{});var Ga=l(Gn);gn=g(Ga,"Rainer J. Schwob / Ramona Hocker: âWie klingt die Passion?â Frank Martins musikalische Metamorphosen von Passionsdarstellungen, in: Wie Bilder klingen, Tagungsband zum Symposium Musik nach Bildern (Innsbruck, 16.â18. April 2010), hg. von Lukas Christensen und Monika Fink, Berlin, Münster, Wien: Lit Verlag, 2011 (Neue Innsbrucker Beiträge zur Musikwissenschaft, 1), S. 139â158 und Farbtafeln 9â14."),Ga.forEach(a),ni.forEach(a),ti.forEach(a),Zr=k(Pe),Hn=o(Pe,"LI",{dir:!0});var ri=l(Hn);In=o(ri,"P",{dir:!0});var fs=l(In);rn=o(fs,"STRONG",{});var mo=l(rn);ir=g(mo,"Rainer J. Schwob: Nikolaus Harnoncourt und die Wiener Symphoniker, in: Ereignis Klangrede. Nikolaus Harnoncourt als Dirigent und Musikdenker [Beiträge zum Symposion des Instituts für Musikalische Interpretations- und Rezeptionsgeschichte, Universität Mozarteum, Salzburg, 24.â26. Januar 2008], hg. von Wolfgang Gratzer, Freiburg i. Br., Wien, Berlin: Rombach, 2009 (Rombach Wissenschaften â klangâreden, 3), S. 81â105."),mo.forEach(a),fs.forEach(a),ri.forEach(a),qr=k(Pe),or=o(Pe,"LI",{dir:!0});var ai=l(or);qe=o(ai,"P",{dir:!0});var hs=l(qe);Zt=o(hs,"STRONG",{});var ps=l(Zt);an=g(ps,"Rainer J. Schwob: Ansätze zu einem Verständnis von Aufführungspraxis im frühen 19. Jahrhundert anhand von Texten zu Wolfgang Amadeus Mozart, in: Beiträge zur Interpretationsästhetik und Hermeneutik-Diskussion, hg. von Claus Bockmaier, Laaber: Laaber-Verlag, 2009 (Schriften zur musikalischen Hermeneutik, 10), S. 267â285."),ps.forEach(a),hs.forEach(a),ai.forEach(a),Xr=k(Pe),sn=o(Pe,"LI",{dir:!0});var vo=l(sn);Sr=o(vo,"P",{dir:!0});var si=l(Sr);lr=o(si,"STRONG",{});var ii=l(lr);Er=g(ii,"Rainer J. Schwob: Mozart und andere Komponisten in frühen Musikzeitschriften, in: Mozarts literarische Spuren. Werk und Leben des Komponisten im literarischen Diskurs vom späten 18. Jahrhundert bis zur Gegenwart, Ergebnisse des Symposiums in Wroclaw/Breslau 20.â23. November 2006, hg. von Lucjan Puchalski. Wien: Praesens Verlag, 2008. S. 31â49."),ii.forEach(a),si.forEach(a),vo.forEach(a),Ln=k(Pe),ct=o(Pe,"LI",{dir:!0});var gs=l(ct);Rn=o(gs,"P",{dir:!0});var _o=l(Rn);Lr=o(_o,"STRONG",{});var bo=l(Lr);on=g(bo,"Rainer J. Schwob: Partner oder Rivalen? Italienische Oper und deutsches Singspiel in der Ãra Josephs II, in: Mozart und Salieri â Partner oder Rivalen? Das Fest in der Orangerie zu Schönbrunn vom 7. Februar 1786, hg. von Paolo Budroni, Göttingen: V&R unipress / Vienna University Press, 2008, S. 75â82."),bo.forEach(a),_o.forEach(a),gs.forEac
2158h(a),zr=k(Pe),Kt=o(Pe,"LI",{dir:!0});var Ht=l(Kt);$n=o(Ht,"P",{dir:!0});var tr=l($n);Jn=o(tr,"STRONG",{});var Sa=l(Jn);Wn=g(Sa,"Rainer J. Schwob: Ernst Kreneks Bearbeitung von Claudio Monteverdis Lâincoronazione di Poppea, in: Studien zur Musikwissenschaft, Beihefte der Denkmäler der Tonkunst in Ãsterreich; 53. Tutzing: H. Schneider, 2007, S. 219â270."),Sa.forEach(a),tr.forEach(a),Ht.forEach(a),Yr=k(Pe),Fn=o(Pe,"LI",{dir:!0});var ms=l(Fn);wn=o(ms,"P",{dir:!0});var So=l(wn);jn=o(So,"STRONG",{});var oi=l(jn);Nn=g(oi,"Rainer J. Schwob: Konstanten und Entwicklungen in Einspielungen der letzten drei Sinfonien Mozarts (KV 543, KV 550 und KV 551) durch die Wiener Philharmoniker, in: Mozarts letzte drei Sinfonien. Stationen ihrer Interpretationsgeschichte [Beiträge zum Symposion Salzburg 5.â7. Dezember 2006], hg. von Joachim Brügge, Wolfgang Gratzer und Thomas Hochradner, Freiburg i. Br., Berlin, Wien: Rombach Verlag, 2008 (Rombach Wissenschaften â klangâreden, 1), S. 209â239."),oi.forEach(a),So.forEach(a),ms.forEach(a),rt=k(Pe),Cn=o(Pe,"LI",{dir:!0});var li=l(Cn);qt=o(li,"P",{dir:!0});var Ha=l(qt);Vn=o(Ha,"STRONG",{});var Ti=l(Vn);mn=g(Ti,"Rainer J. Schwob: W. A. Mozart im Spiegel des Musikjournalismus bis 1828. Ein Projekt zur Erforschung der frühen Mozart-Rezeption, in: Mozart-Jahrbuch 2003/2004, Kassel u. a. 2005, S. 253â257."),Ti.forEach(a),Ha.forEach(a),li.forEach(a),Qr=k(Pe),Pe.forEach(a),Un=o(je,"P",{dir:!0});var vs=l(Un);Zn=o(vs,"STRONG",{});var Eo=l(Zn);
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2168nna 2019), as 2169 well as Musikalische Interpretation bei Herbert von Karajan (Hildesheim 2170 2022), Music and Corporeality in 20th and 21st Century Music (Bielefeld 2171 2022), Aspekte softwaregestützter Interpretationsforschung: Grundsätze, 2172 Desiderate und Grenzen (Würzburg 2022) and Wie sich Salzburg inszeniert. Vom 2173 Werden einer Musiktheaterstadt (Vienna 2023). Some of his papers were 2174 published in Ãsterreichische Musikzeitschrift, Zeitschrift der Gesellschaft 2175 für Musiktheorie, and Studia Musicologica, among others. He has been member 2176 of board of the Gesellschaft für Musiktheorie since 2018 (since 2020 as 2177 treasurer), of the advisory board of the journal Kwartalnik MÅodych 2178 Muzykologów UJ, and is artistic director of the classical concert series 2179 Schlosskonzerte Gleinstätten.`),h=z(),d=i("p"),m=i("a"),b=p("https://kug.academia.edu/twozonig"),_=z(),v=i("p"),E=i("a"),y=p("https://orcid.org/0000-0003-1766-8229"),I=z(),M=i("h2"),T=p("Publications"),S=z(),A=i("div"),R=i("strong"),$=p("Articles"),q=z(),O=i("ol"),L=i("li"),C=i("strong"),U=p(`Die frühe Schenker-Rezeption Hellmut Federhofers, in: 2180 Zeitschrift der Gesellschaft für Musiktheorie 15/1 (2018), `),Z=i("em"),G=i("a"),x=p("Link"),X=z(),ie=i("li"),ce=i("strong"),H=p(`âZur Müllerin hin / so lautet der Sinn?â Power Structures in 2181 the Performance Tradition of Franz Schubertâs Die schöne 2182 Müllerin and Winterreise, in: Kwartalnik MÅodych Muzykologów UJ 2183 35/4 (2017), `),J=i("em"),Y=p("p. 5-38 ("),B=i("a"),D=p("Link"),Q=p(")"),de=z(),ue=i("p"),se=p(" "),fe=z(),_e=i("strong"),ge=p("Reports and Programmes"),oe=z(),ee=i("ol"),le=i("li"),te=i("strong"),Me=p(`Premiere für ein Neue-Musik-Festival, in: Ãsterreichische 2184 Musikzeitschrift 69 (2014/4), S. 71.`),De=z(),Ne=i("li"),Te=i("strong"),Ye=p(`Computermusik und Sounddesign. Neue Studienmöglichkeiten an der 2185 Kunstuniversität Graz, in: Ãsterreichische Musikzeitschrift 69 2186 (2014/6).`),Ue=z(),me=i("li"),$e=i("strong"),re=p(`47. Internationale Ferienkurse für Neue Musik Darmstadt. 2. â 2187 16. 8. 2014: Scelsi Revisited Backstage II (Teile des 2188 Programmhefts).`),ve=z(),Ie=i("li"),Ge=i("strong"),He=p(`Arsonore. Internationales Musikfest Schloss Eggenberg Graz 2189 (03.-07. September 2015) (Parts of the Programme Booklet on 2190 Maurice Ravel, Claude Debussy, César Franck, and Gabriel Fauré).`),this.h()},l(pe){e=o(pe,"H2",{});var ye=l(e);n=g(ye,"About"),ye.forEach(a),r=k(pe),s=o(pe,"P",{});var be=l(s);c=g(be,`Thomas Wozonig has studied musicology, music theory, and music education at 2191 the University of Graz and the University of Music and Performing Arts Graz. 2192 From 2018â2021, he was a member of the FWF-funded project Towards 2193 Interdisciplinary, Computer-assisted Analysis of Musical Interpretation: 2194 Herbert von Karajan at the latter university. From 2021â2022, he has held a 2195 post as university assistant at the Arbeitsschwerpunkt Salzburger 2196 Muiskgeschichte at the University Mozarteum Salzburg. Besides that, he works 2197 on his dissertation on Herbert von Karajan as Jean Sibelius conductor. His 2198 research focuses on musical interpretation and performance research, and the 2199 music history of Scandinavia. Thomas has been co-editor of Musik im 2200 Zusammenhang. Festschrift Peter Revers zum 65. Geburtstag (Vienna 2019), as 2201 well as Musikalische Interpretation bei Herbert von Karajan (Hildesheim 2202 2022), Music and Corporeality in 20th and 21st Century Music (Bielefeld 2203 2022), Aspekte softwaregestützter Interpretationsforschung: Grundsätze, 2204 Desiderate und Grenzen (Würzburg 2022) and Wie sich Salzburg inszeniert. Vom 2205 Werden einer Musiktheaterstadt (Vienna 2023). Some of his papers were 2206 published in Ãsterreichische Musikzeitschrift, Zeitschrift der Gesellschaft 2207 für Musiktheorie, and Studia Musicologica, among others. 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IN NO EVENT SHALL THE 2239 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 2240 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 2241 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 2242 * THE SOFTWARE. 2243 */function SA(u){return u?u.scrollHeight>u.offsetHeight:!1}function EA(u){return u?u.scrollTop===0:!1}function zA(u){return u?Math.ceil(u.scrollHeight-u.scrollTop)===u.clientHeight:!1}function kA(u){var e=new Set;return[].forEach.call(u,function(n){return e.add(n.offsetTop)}),e.size>1}/** 2244 * @license 2245 * Copyright 2020 Google Inc. 2246 * 2247 * Permission is hereby granted, free of charge, to any person obtaining a copy 2248 * of this software and associated documentation files (the "Software"), to deal 2249 * in the Software without restriction, including without limitation the rights 2250 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 2251 * copies of the Software, and to permit persons to whom the Software is 2252 * furnished to do so, subject to the following conditions: 2253 * 2254 * The above copyright notice and this permission notice shall be included in 2255 * all copies or substantial portions of the Software. 2256 * 2257 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 2258 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 2259 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 2260 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 2261 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 2262 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 2263 * THE SOFTWARE. 2264 */var AA=function(){function u(){this.rafIDs=new Map}return u.prototype.request=function(e,n){var r=this;this.cancel(e);var s=requestAnimationFrame(function(c){r.rafIDs.delete(e),n(c)});this.rafIDs.set(e,s)},u.prototype.cancel=function(e){var n=this.rafIDs.get(e);n&&(cancelAnimationFrame(n),this.rafIDs.delete(e))},u.prototype.cancelAll=function(){var e=this;this.rafIDs.forEach(function(n,r){e.cancel(r)})},u.prototype.getQueue=function(){var e=[];return this.rafIDs.forEach(function(n,r){e.push(r)}),e},u}();/** 2265 * @license 2266 * Copyright 2016 Google Inc. 2267 * 2268 * Permission is hereby granted, free of charge, to any person obtaining a copy 2269 * of this software and associated documentation files (the "Software"), to deal 2270 * in the Software without restriction, including without limitation the rights 2271 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 2272 * copies of the Software, and to permit persons to whom the Software is 2273 * furnished to do so, subject to the following conditions: 2274 * 2275 * The above copyright notice and this permission notice shall be included in 2276 * all copies or substantial portions of the Software. 2277 * 2278 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 2279 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 2280 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 2281 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 2282 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 2283 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 2284 * THE SOFTWARE. 2285 */var Kn={CLOSING:"mdc-dialog--closing",OPEN:"mdc-dialog--open",OPENING:"mdc-dialog--opening",SCROLLABLE:"mdc-dialog--scrollable",SCROLL_LOCK:"mdc-dialog-scroll-lock",STACKED:"mdc-dialog--stacked",FULLSCREEN:"mdc-dialog--fullscreen",SCROLL_DIVIDER_HEADER:"mdc-dialog-scroll-divider-header",SCROLL_DIVIDER_FOOTER:"mdc-dialog-scroll-divider-footer",SURFACE_SCRIM_SHOWN:"mdc-dialog__surface-scrim--shown",SURFACE_SCRIM_SHOWING:"mdc-dialog__surface-scrim--showing",SURFACE_SCRIM_HIDING:"mdc-dialog__surface-scrim--hiding",SCRIM_HIDDEN:"mdc-dialog__scrim--hidden"},s2={ACTION_ATTRIBUTE:"data-mdc-dialog-action",BUTTON_DEFAULT_ATTRIBUTE:"data-mdc-dialog-button-default",BUTTON_SELECTOR:".mdc-dialog__button",CLOSED_EVENT:"MDCDialog:closed",CLOSE_ACTION:"close",CLOSING_EVENT:"MDCDialog:closing",CONTAINER_SELECTOR:".mdc-dialog__container",CONTENT_SELECTOR:".mdc-dialog__content",DESTROY_ACTION:"destroy",INITIAL_FOCUS_ATTRIBUTE:"data-mdc-dialog-initial-focus",OPENED_EVENT:"MDCDialog:opened",OPENING_EVENT:"MDCDialog:opening",SCRIM_SELECTOR:".mdc-dialog__scrim",SUPPRESS_DEFAULT_PRESS_SELECTOR:["textarea",".mdc-menu .mdc-list-item",".mdc-menu .mdc-deprecated-list-item"].join(", "),SURFACE_SELECTOR:".mdc-dialog__surface"},Q2={DIALOG_ANIMATION_CLOSE_TIME_MS:75,DIALOG_ANIMATION_OPEN_TIME_MS:150};/** 2286 * @license 2287 * Copyright 2017 Google Inc. 2288 * 2289 * Permission is hereby granted, free of charge, to any person obtaining a copy 2290 * of this software and associated documentation files (the "Software"), to deal 2291 * in the Software without restriction, including without limitation the rights 2292 * to use, copy, modify, merge, publish, distribute, sublicense, and/or sell 2293 * copies of the Software, and to permit persons to whom the Software is 2294 * furnished to do so, subject to the following conditions: 2295 * 2296 * The above copyright notice and this permission notice shall be included in 2297 * all copies or substantial portions of the Software. 2298 * 2299 * THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR 2300 * IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, 2301 * FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE 2302 * AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER 2303 * LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, 2304 * OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN 2305 * THE SOFTWARE. 2306 */var j2;(function(u){u.POLL_SCROLL_POS="poll_scroll_position",u.POLL_LAYOUT_CHANGE="poll_layout_change"})(j2||(j2={}));var yA=function(u){gc(e,u);function e(n){var r=u.call(this,Fs(Fs({},e.defaultAdapter),n))||this;return r.dialogOpen=!1,r.isFullscreen=!1,r.animationFrame=0,r.animationTimer=0,r.escapeKeyAction=s2.CLOSE_ACTION,r.scrimClickAction=s2.CLOSE_ACTION,r.autoStackButtons=!0,r.areButtonsStacked=!1,r.suppressDefaultPressSelector=s2.SUPPRESS_DEFAULT_PRESS_SELECTOR,r.animFrame=new AA,r.contentScrollHandler=function(){r.handleScrollEvent()},r.windowResizeHandler=function(){r.layout()},r.windowOrientationChangeHandler=function(){r.layout()},r}
2306return Object.defineProperty(e,"cssClasses",{get:function(){return Kn},enumerable:!1,configurable:!0}),Object.defineProperty(e,"strings",{get:function(){return s2},enumerable:!1,configurable:!0}),Object.defineProperty(e,"numbers",{get:function(){return Q2},enumerable:!1,configurable:!0}),Object.defineProperty(e,"defaultAdapter",{get:function(){return{addBodyClass:function(){},addClass:function(){},areButtonsStacked:function(){return!1},clickDefaultButton:function(){},eventTargetMatches:function(){return!1},getActionFromEvent:function(){return""},getInitialFocusEl:function(){return null},hasClass:function(){return!1},isContentScrollable:function(){return!1},notifyClosed:function(){},notifyClosing:function(){},notifyOpened:function(){},notifyOpening:function(){},releaseFocus:function(){},removeBodyClass:function(){},removeClass:function(){},reverseButtons:function(){},trapFocus:function(){},registerContentEventHandler:function(){},deregisterContentEventHandler:function(){},isScrollableContentAtTop:function(){return!1},isScrollableContentAtBottom:function(){return!1},registerWindowEventHandler:function(){},deregisterWindowEventHandler:function(){}}},enumerable:!1,configurable:!0}),e.prototype.init=function(){this.adapter.hasClass(Kn.STACKED)&&this.setAutoStackButtons(!1),this.isFullscreen=this.adapter.hasClass(Kn.FULLSCREEN)},e.prototype.destroy=function(){this.animationTimer&&(clearTimeout(this.animationTimer),this.handleAnimationTimerEnd()),this.isFullscreen&&this.adapter.deregisterContentEventHandler("scroll",this.contentScrollHandler),this.animFrame.cancelAll(),this.adapter.deregisterWindowEventHandler("resize",this.windowResizeHandler),this.adapter.deregisterWindowEventHandler("orientationchange",this.windowOrientationChangeHandler)},e.prototype.open=function(n){var r=this;this.dialogOpen=!0,this.adapter.notifyOpening(),this.adapter.addClass(Kn.OPENING),this.isFullscreen&&this.adapter.registerContentEventHandler("scroll",this.contentScrollHandler),n&&n.isAboveFullscreenDialog&&this.adapter.addClass(Kn.SCRIM_HIDDEN),this.adapter.registerWindowEventHandler("resize",this.windowResizeHandler),this.adapter.registerWindowEventHandler("orientationchange",this.windowOrientationChangeHandler),this.runNextAnimationFrame(function(){r.adapter.addClass(Kn.OPEN),r.adapter.addBodyClass(Kn.SCROLL_LOCK),r.layout(),r.animationTimer=setTimeout(function(){r.handleAnimationTimerEnd(),r.adapter.trapFocus(r.adapter.getInitialFocusEl()),r.adapter.notifyOpened()},Q2.DIALOG_ANIMATION_OPEN_TIME_MS)})},e.prototype.close=function(n){var r=this;n===void 0&&(n=""),this.dialogOpen&&(this.dialogOpen=!1,this.adapter.notifyClosing(n),this.adapter.addClass(Kn.CLOSING),this.adapter.removeClass(Kn.OPEN),this.adapter.removeBodyClass(Kn.SCROLL_LOCK),this.isFullscreen&&this.adapter.deregisterContentEventHandler("scroll",this.contentScrollHandler),this.adapter.deregisterWindowEventHandler("resize",this.windowResizeHandler),this.adapter.deregisterWindowEventHandler("orientationchange",this.windowOrientationChangeHandler),cancelAnimationFrame(this.animationFrame),this.animationFrame=0,clearTimeout(this.animationTimer),this.animationTimer=setTimeout(function(){r.adapter.releaseFocus(),r.handleAnimationTimerEnd(),r.adapter.notifyClosed(n)},Q2.DIALOG_ANIMATION_CLOSE_TIME_MS))},e.prototype.showSurfaceScrim=function(){var n=this;this.adapter.addClass(Kn.SURFACE_SCRIM_SHOWING),this.runNextAnimationFrame(function(){n.adapter.addClass(Kn.SURFACE_SCRIM_SHOWN)})},e.prototype.hideSurfaceScrim=function(){this.adapter.removeClass(Kn.SURFACE_SCRIM_SHOWN),this.adapter.addClass(Kn.SURFACE_SCRIM_HIDING)},e.prototype.handleSurfaceScrimTransitionEnd=function(){this.adapter.removeClass(Kn.SURFACE_SCRIM_HIDING),this.adapter.removeClass(Kn.SURFACE_SCRIM_SHOWING)},e.prototype.isOpen=function(){return this.dialogOpen},e.prototype.getEscapeKeyAction=function(){return this.escapeKeyAction},e.prototype.setEscapeKeyAction=function(n){this.escapeKeyAction=n},e.prototype.getScrimClickAction=function(){return this.scrimClickAction},e.prototype.setScrimClickAction=function(n){this.scrimClickAction=n},e.prototype.getAutoStackButtons=function(){return this.autoStackButtons},e.prototype.setAutoStackButtons=function(n){this.autoStackButtons=n},e.prototype.getSuppressDefaultPressSelector=function(){return this.suppressDefaultPressSelector},e.prototype.setSuppressDefaultPressSelector=function(n){this.suppressDefaultPressSelector=n},e.prototype.layout=function(){var n=this;this.animFrame.request(j2.POLL_LAYOUT_CHANGE,function(){n.layoutInternal()})},e.prototype.handleClick=function(n){var r=this.adapter.eventTargetMatches(n.target,s2.SCRIM_SELECTOR);if(r&&this.scrimClickAction!=="")this.close(this.scrimClickAction);else{var s=this.adapter.getActionFromEvent(n);s&&this.close(s)}},e.prototype.handleKeydown=function(n){var r=n.key==="Enter"||n.keyCode===13;if(r){var s=this.adapter.getActionFromEvent(n);if(!s){var c=n.composedPath?n.composedPath()[0]:n.target,h=this.suppressDefaultPressSelector?!this.adapter.eventTargetMatches(c,this.suppressDefaultPressSelector):!0;r&&h&&this.adapter.clickDefaultButton()}}},e.prototype.handleDocumentKeydown=function(n){var r=n.key==="Escape"||n.keyCode===27;r&&this.escapeKeyAction!==""&&this.close(this.escapeKeyAction)},e.prototype.handleScrollEvent=function(){var n=this;this.animFrame.request(j2.POLL_SCROLL_POS,function(){n.toggleScrollDividerHeader(),n.toggleScrollDividerFooter()})},e.prototype.layoutInternal=function(){this.autoStackButtons&&this.detectStackedButtons(),this.toggleScrollableClasses()},e.prototype.handleAnimationTimerEnd=function(){this.animationTimer=0,this.adapter.removeClass(Kn.OPENING),this.adapter.removeClass(Kn.CLOSING)},e.prototype.runNextAnimationFrame=function(n){var r=this;cancelAnimationFrame(this.animationFrame),this.animationFrame=requestAnimationFrame(function(){r.animationFrame=0,clearTimeout(r.animationTimer),r.animationTimer=setTimeout(n,0)})},e.prototype.detectStackedButtons=function(){this.adapter.removeClass(Kn.STACKED);var 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2341o=p(`: Thomas Wozonig, ââOptimal gesättigte Orchesteropulenzâ. Eine 2342 Klangbilanz der 2343 `),hi=i("span"),pi=p("Also sprach Zarathustra"),ja=i("span"),Ns=p(`-Einspielungen Herbert von Karajansâ, in: 2344 `),gi=i("span"),Ao=p("Richard Strauss-Jahrbuch 2019"),wt=i("span"),Ss=p(", Wien: Hollitzer 2022, S. 67â80."),Es=i("span"),yo=p(" "),Ii=z(),zs=i("li"),kn=i("p"),Va=i("span"),mi=i("span"),Mo=p("Hebenstreit 2023"),Ua=i("span"),El=p(": Lukas Hebenstreit"),Li=i("span"),Gc=p(", â"),vi=i("span"),zl=p("Karajans Konzertfilm der âSymphonie fantastiqueâ (1971)â"),Po=i("span"),Hc=p(", in: "),la=i("span"),Ri=p(`âSeine ganze Musikdeutung geht ja vom Klang aus.â 2345 `),_i=i("span"),kl=p("Musikalische Interpretation bei Herbert von Karajan"),To=i("span"),Jc=p(`[conference proceedings Graz 2019], ed. by Klaus Aringer, Peter 2346 Revers and Thomas Wozonig, Hildesheim: Olms 2023.`),bi=i("span"),Io=p(" "),Al=z(),$d=i("li"),Za=i("p"),Gi=i("span"),Lo=i("span"),wd=p("Wozonig 2023a"),Wc=i("span"),Ah=p(": Thomas Wozonig, â"),Ro=i("span"),Fc=p(`Form durch Interpretation. Herbert von Karajan und die Sechste 2347 Sinfonie von Jean Sibeliusâ`),yl=i("span"),yh=p(", in: "),jc=i("span"),Vc=p(`âSeine ganze Musikdeutung geht ja vom Klang aus.â 2348 `),Ml=i("span"),Mh=p("Musikalische Interpretation bei Herbert von Karajan"),Uc=i("span"),Zc=p(`[conference proceedings Graz 2019], ed. by Klaus Aringer, Peter 2349 Revers and Thomas Wozonig, Hildesheim: Olms 2023.`),$o=i("span"),qc=p(" "),Nd=z(),Cd=i("li"),Si=i("p"),Hi=i("span"),Pl=i("span"),Ph=p("Wozonig 2023b"),Xc=i("span"),Yc=p(`: Thomas Wozonig, âAnalyses of Temporal Phenomena in Music with 2350 Sonic Visualiserâ, in: 2351 `),Tl=i("span"),Th=p(`Softwaregestützte Interpretationsforschung. Grundsätze, 2352 Desiderate, Grenzen`),Qc=i("span"),Il=p(", Würzburg: Königshausen & Neumann 2023, pp. 73â98."),wo=i("span"),xc=p(" "),eu=z(),mc=i("p"),Ih=p(" "),vc=z(),Ji=i("p"),Ll=i("span"),Lh=p("Conference papers"),oh=z(),xe=i("ul"),_c=i("li"),No=i("p"),bc=i("span"),Co=i("span"),tu=p(`Peter Revers: âHerbert von Karajan and Richard Straussâ Alpine 2353 Symphonyâ, Karajan Music Tech Conference, Salzburg, 13â14 April 2354 2017`),Bo=i("span"),Bd=p(" "),Rh=z(),Od=i("li"),ks=i("p"),Oo=i("span"),nu=i("span"),$h=p(`Thomas Wozonig, âHerbert von Karajan als Sibelius-Dirigentâ, 2355 Annual conference of Ãsterreichische Gesellschaft für 2356 Musikwissenschaft 2357 `),$i=i("span"),ru=p("Musik â Quellen â Denken"),Ko=i("span"),Kd=p(", Austrian Academy of Sciences, 6â8 December 2018"),au=i("span"),wh=p(" "),su=z(),Rl=i("li"),wi=i("p"),Sc=i("span"),iu=i("span"),ou=p(`Thomas Wozonig, âTowards Interdisciplinary, Computer-assisted 2358 Analysis of Musical Interpretation: Herbert von Karajanâ, poster 2359 presentation, annual congress of Ãsterreichische Gesellschaft 2360 für Musikwissenschaft, Innsbruck, 2019`),$l=i("span"),Nh=p(" "),Ch=z(),Gr=i("li"),qa=i("p"),Wi=i("span"),wl=i("span"),Bh=p("Klaus "),lu=i("span"),cu=p(`Aringer, âPflicht oder Kür? Karajan und Haydns Sinfonienâ, 2361 International Conference 2362 `),Do=i("span"),Dd=p("Musikalische Interpretation bei Herbert von Karajan"),uu=i("span"),Oh=p(`, University of Music and Performing Arts Graz, 29 April â 1 2363 Mai 2019`),Go=i("span"),du=p(" "),Gd=z(),Hd=i("li"),Cs=i("p"),Fi=i("span"),Ho=i("span"),Jd=p("Thassilo G"),fu=i("span"),Kh=p(`adermaier, âEvaluierung von Audio-to-Audio Alignment für 2364 (semi-)automatische Tempoanalysenâ, 2365 `),Jo=i("span"),hu=p("International Conference "),Nl=i("span"),Dh=p("Musikalische Interpretation bei Herbert von Karajan"),pu=i("span"),gu=p(`, University of Music and Performing Arts Graz, 29 April â 1 2366 Mai 2019`),Wo=i("span"),Wd=p(" "),Gh=z(),Fd=i("li"),Xa=i("p"),ji=i("span"),Cl=i("span"),Hh=p("Lukas Hebenstreit"),mu=i("span"),vu=p(`, âKarajans K
2366onzertfilm der âSymphonie fantastiqueâ (1971)â, 2367 International Conference 2368 `),Bl=i("span"),Jh=p("Musikalische Interpretation bei Herbert von Karajan"),_u=i("span"),ca=p(`, University of Music and Performing Arts Graz, 29 April â 1 2369 Mai 2019`),Fo=i("span"),bu=p(" "),jd=z(),Vd=i("li"),Ni=i("p"),Vi=i("span"),jo=i("span"),Ud=p(`Jernej Mazej, âZur Dritten Sinfonie von Johannes Brahmsâ, 2370 International Conference 2371 `),Su=i("span"),Wh=p("Musikalische Interpretation bei Herbert von Karajan"),Vo=i("span"),Eu=p(`, University of Music and Performing Arts Graz, 29 April â 1 2372 Mai 2019`),Ol=i("span"),Fh=p(" "),jh=z(),Kl=i("li"),As=i("p"),Uo=i("span"),zu=i("span"),Vh=p(`Thomas Wozonig, ââMan frage also besser nicht nach dem Warum.â 2373 Herbert von Karajan und Jean Sibeliusâ Sechste Sinfonieâ, 2374 International Conference 2375 `),Zo=i("span"),ku=p("Musikalische Interpretation bei Herbert von Karajan"),Dl=i("span"),Uh=p(`, University of Music and Performing Arts Graz, 29 April â 1 2376 Mai 2019`),Au=i("span"),yu=p(" "),Mu=z(),Ec=i("li"),Bs=i("p"),zc=i("span"),qo=i("span"),Pu=p("Thomas Wozonig, ââ"),Gl=i("span"),Zh=p("Karajan"),Tu=i("span"),Iu=p(`is the only conductor who puts my intentions into practise.â 2377 Herbert von Karajanâs recording of Jean Sibeliusâ First 2378 Symphonyâ, PSN Research Forum 2379 `),Hl=i("span"),qh=p("New Takes on Recorded Music"),Lu=i("span"),La=p(", University of Surrey, 5â6 September 2019"),Xo=i("span"),Ru=p(" "),Zd=z(),qd=i("li"),Ci=i("p"),Ui=i("span"),Yo=i("span"),Xd=p(`Peter Revers, ââIst dies etwa der Tod?ââ. 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