The early modern transmission of the ancient Greek romances : a bibliographic survey

This contribution offers a new, critical bibliography of translations and editions of the five extant Greek romances in the early modern era, from the beginning of printing to the eighteenth century. By consulting catalogues of libraries, digitalised copies, and secondary literature, I expand, update and correct earlier bibliographies. I identify alleged editions and include creative treatments of the texts as well as incomplete versions. As an interpretation of my survey, I give an overview of broad, changing tendencies throughout the era and filter the dispersion over Europe in a wider area and period than was available so far, in order to get a more complete picture of their distribution. Furthermore, I point to some peculiar (tendencies in) combinations, among the lemmata themselves, as well as with other stories

Grieg Festival: Folklore and Nature, November 3, 2007

This is the concert program of the Grieg Festival: Folklore and Nature performance on Saturday, November 3, 2007 at 4:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were the following by Edward Grieg: Barnlige Sange / Children's Songs, Opus 61, Sanger Uten Opusnummer / Songs Without Opus Numbers, Digte / Five Songs, Opus 60, and Tolv Melodier / Twelve Songs, Opus 33. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Faculty recital series: Peter Zazofsky and Michele Levin, January 26, 2011

This is the concert program of the faculty recital of Peter Zazofsky and Michele Levin on Wednesday, January 26, 2011 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Sonata in A-minor, op. 137, No. 2 by Franz Schubert, Sonat in E-flat major, op. 18 by Johann Strauss, Sonata for Solo Violin, op. 27, No. 2 "A Jacques Thibaud" by Eugènes Ysaÿe, Sonata in G-minor, "Devil's Trill" by Giuseppe Tartini, and Fantasy on Themes from the opera, "Faust" by Charles Gounod by Henryk Wieniawski. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Functional determinants for general self-adjoint extensions of Laplace-type operators resulting from the generalized cone

In this article we consider the zeta regularized determinant of Laplace-type operators on the generalized cone. For {\it arbitrary} self-adjoint extensions of a matrix of singular ordinary differential operators modelled on the generalized cone, a closed expression for the determinant is given. The result involves a determinant of an endomorphism of a finite-dimensional vector space, the endomorphism encoding the self-adjoint extension chosen. For particular examples, like the Friedrich's extension, the answer is easily extracted from the general result. In combination with \cite{BKD}, a closed expression for the determinant of an arbitrary self-adjoint extension of the full Laplace-type operator on the generalized cone can be obtained.Comment: 27 pages, 2 figures; to appear in Manuscripta Mathematic

Bach’s sonata BWV 1035 and the Empfindsamer Stil

El present estudi versa sobre les característiques de l’empfindsamer Stil (‘estil senti­mental’) en la sonata BWV 1035 de Johann Sebastian Bach. Primer, contextualitzo els di­versos aspectes històrics que marcaren un punt d’inflexió en el pensament musical de Bach respecte a la seva obertura als nous estils. Després, destaco aquests estils en diverses obres de Bach i en les d’altres compositors de l’època tot contrastant-les. Segueixo, corroborant que Bach va més enllà de l’estil del darrer Barroc i que assumeix els nous models tot elaborant-los amb la mateixa intensitat que el contrapunt barroc. I, finalment, argumento amb tres aspectes la seva adscripció al nou estil en voga, l’empfindsamer Stil: 1) analitzo els aspectes musicals de l’empfindsamer Stil i de l’estil galant presents a la sonata; 2) comento l’estètica de la cort de Potsdam, lloc per al qual fou composta la sonata i on predominava el gust per l’estil galant i l’empfindsamer Stil, i 3) mostro tractadistes que aporten aspectes que es poden aplicar a la sonata de Bach. Concloc posant en relleu que Bach depassà el darrer Barroc, no essent aliè als estils de moda de la seva època.This study deals with the characteristics of the Empfindsamer Stil in the Sonata BWV 1035 by Johann Sebastian Bach. First, we contextualize the various historical aspects that marked a turning point in Bach’s musical thinking with regard to his openness to new styles. These styles are then pointed out in various works by Bach and in those of other composers of the time, drawing pertinent comparisons. We go on to corroborate that Bach moves beyond the style of the Late Baroque, assuming the new models while elaborating them with the same intensity as his Baroque counterpoint. Lastly, three aspects are postu­lated for the sonata’s attribution to Empfindsamer Stil, the new style in vogue: 1) we ana­lyse the musical aspects of the Empfindsamer Stil and the Galant style which are present in the sonata; 2) we comment on the aesthetics of the Potsdam court, where the sonata was composed and where the taste for the Galant and Empfindsamer styles predominated, and 3) we present treatises that highlight aspects which may be applied to Bach’s sonata. We conclude by establishing that Bach went beyond the Late Baroque and that he was not alien to the fashionable styles of his times

The support of a recognizable series over a zero-sum free, commutative semiring is recognizable

We show that the support of a recognizable series over a zero-sum free, commutative semiring is a recognizable language. We also give a sufficient and necessary condition for the existence of an effective transformation of a weighted automaton recognizing a series S over a zero-sum free, commutative semiring into an automaton recognizing the support of S