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This thesis is a close reading and sustained textual analysis of the earlier Christology of Karl Barth as it emerges from his theological activity during his tenure as Honorary Professor of Reformed Theology at the University of Göttingen. The first chapter takes stock of Barth’s Christology as it emerges in a variety of pieces prior to his professorate at Göttingen. The following four chapters treat his lectures in historical theology from 1921-24. The sixth chapter offers a comprehensive reading of his Christology from his dogmatic lectures from 1924-26. The final chapter looks at Barth’s exegetical lectures on the Gospel of John in the winter semester of 1926.

From the 20th century onward, there has been many notable musical and technological developments. These developments have led to the formation of new musical genres and commercial ensembles. The new genres and commercial ensembles have pertinent implications for modern conductors. In addition to traditional forms such as instrumental, choral, and mixed ensembles, modern conductors must be aware of the unique characteristics of the new commercial ensembles. These new ensembles include the film scoring stage, the jazz ensemble, and the worship ensemble. In addition to utilizing the fundamental concepts of traditional conducting, modern conductors must also attain a working knowledge of the unique nature of each commercial ensemble. This study investigates the fundamentals of conducting and highlights the distinctive techniques and skill sets that modern conductors must employ to effectively direct traditional and commercial ensembles. In particular, the ensemble characteristics, performance practices, accompanying technological necessities, and recommended conducting techniques are discussed in detail for the new commercial ensemble types.