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1

Dequevauviller, Vincent. "Etude sur certains procédés architectoniques, en particulier numériques, dans la composition des oeuvres de Jean-Sébastien Bach." Paris 4, 2003. http://www.theses.fr/2003PA040070.

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L'objectif de la thèse est analytique : essayer de mettre en valeur des régularités formelles récurrentes dans quelques pièces et cycle de Bach. On observe d'abord que le triple-prélude et la triple-fugue en mi bémol majeur, opposés en apparence, utilisent le même principe de construction : une succession de périodes disposées par paires (quatre paires pour le prélude, trois pour la fugue). En outre, la longueur des périodes (c'est-à-dire leur nombre de mesures) suit des règles arithmétiques rigoureuses, utilisant des catégories particulières de "nombres remarquables" (signatures, miroirs, etc. . . ). La thèse est consacrée à l'étude approfondie de cette technique de construction, à la fois formelle et numérique. On étudie d'autres pièces d'orgue, puis un concerto Brandebourgeois. On étend ensuite aux cycles, qui fonctionnent de la même façon : l'art de la fugue et la Messe en si mineur, si dissemblabes en apparence, sont unies par ds liens cachés. Finalement, les observations permettent de proposer quelques hypothèses générales sur la méthode compositionnelle de Bach
The thesis is analytical : it tries to show some regularities in a few pieces and works of J. S. Bach. It begins with the prelude and fugue in E-flat : these two pieces are built on the same architectural principle : the regular sequence of sections, eight for the prelude, six for the fugue. Besides, the number of bars of the sections seems to be controlled, using for some special categories of numbers (signatures, mirrors, and so one). The thesis tries to find some other exemples in organ works (toccata and fugue in F major, toccata and fugue "the dorian"; prelude and fugue in b minor), the sixth brandenburg concerto, The Art of fugue, the Leipzig Chorals, the Trio Sonatas, the Canonic variations, the Schübler Chorals, the Inventios and Sinfonias. It ends with the mass in b minor. In conclusion, some hypotheses are proposed, about Bach's general compositional method

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2

Stone, Harold Samuel. "Vico's cultural history : the production and transmission of ideas in Naples, 1685-1750 /." Leiden : E. J. Brill, 1997. http://catalogue.bnf.fr/ark:/12148/cb40939661p.

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3

Du, Plooy Jacobus Stephanus. "The role of the cadence as determining factor of phrasing of the organ toccatas, preludes and fantasias of Johann Sebastian Bach." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002301.

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This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.

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4

Dommange, Thomas. "Les paradoxes métaphysiques de la Passion selon Saint Matthieu de J. -S. Bach." Paris 10, 2004. http://www.theses.fr/2004PA100176.

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Ce travail propose de déployer les paradoxes métaphysiques contenus dans la Passion selon saint Matthieu de J. -S. Bach. A la fois œuvre liturgique et opéra exporté hors de sa scène, la Passion contient le projet métaphysique d'amener les corps à l'effectivité du salut, c'est-à-dire d'accomplir en lieu et place de la liturgie la constitution d'un homme nouveau. A cet homme, la Passion, grâce à l'agencement spectaculaire des instruments et des voix, va offrir un corps constitué entièrement par l'affect de joie. L'examen de cet affect, de son rapport ambigu au plaisir spectaculaire, permet de proposer une interprétation matérialiste, non seulement des enjeux théologiques contenus dans la Passion, mais de la question de la transcendance
This work proposes to develop the metaphysical paradoxes contained in the saint Matthew Passion by J. S. Bach. Both liturgical work and opera transported out of its stage, the Passion has the metaphysical project to bring bodies to effective salvation, that is to say to substitute itself to the liturgy in order to constitute a new man. The Passion, thanks to the spectacular agency of the instruments and the voices, will offer to that man a body entirely constituted by the affect of joy. By examining that affect, its ambiguous relation to spectacular pleasure, we may suggest a materialistic interpretation, not only of the theological matters contained in the Passion, but also of the question of transcendence

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5

Arnaud, Catherine. "Variations d'après un thème de J. -S. Bach." Paris 1, 1990. http://www.theses.fr/1990PA010612.

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L'objectif de mon projet de recherche est de mettre en évidence des relations spirituelles entre musique et peinture. L'analyse de mon dispositif mis en place est centrée sur une étude visuelle et sonore d'un rouleau à musique de piano mécanique. Visuellement, les rouleaux de partitions de piano mécanique se présentent comme une grille à base de trous perforés. Les trous représentent les notes sur le piano. Le processus inventif a pour but de transposer la partie musicale en code plastique. Il s'agit d'écouter et de regarder la musique. Ainsi, l'ai compose une série de 6 tableaux correspondant à la structure du montage de 6 rouleaux a musique. Leur représentation est ordonnée et intitulée chacun selon un ordre numérique: variation 0, 1, 2, 3, 4, 5, 6, d'après un thème de J. S. . Bach. La lecture de mes séquences graphiques constitue un code qui cherche à rendre explicite un phénomène de composition décomposition d'une séquence graphique et sonore (autour du son et du silence). C'est une interrogation sur le langage verbal: le sonore et le visuel viennent s'ajouter afin d'établir une ouverture plus large de communication. Aussi, je me suis orientée vers des recherches comparatives avec mon système de représentation. Ce processus autocritique propose un itinéraire labyrinthique autour d'une expérience intérieure picturale et musicale
The aim of my research is to reveal the spiritual relationsh ip between en music and painting. The analysis of my display is based on a visual and sonorous study of a mechanical piano music roll. Visually, mechanical music rolls present perforated holes in the paper. These holes represent the notes played on the piano. The inventive process consists in transposing the musical part into a plastic code. It is this a matter of listening to and seeing music. Also, i have composed a successfon of 6 paintings corresponding to the structure of 6 music rolls. Each one of these representations is entitled according to a numerical order: variations 0, 1, 2, 3, 4, 5, 6, from a theme by J. S Bach. The reading of my graphyc sequences constitutes a code that searches to explain a phenomenon of composition decomposition of a graphic and sonorous sequence (based around sound and silence). It is an interrogation of verbal language: sound and vision combine in order to create a larger opening in the field of communication. I have also orientated myself towards comparative studies with my system of representation. This self-critical approach profounds a labyrinthic journey into pictoriental and musical experience

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6

Rosa, Stella Jocelina Almeida. "Teoria e pratica do baixo continuo : uma abordagem a partir das instruções de J. S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284308.

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Orientador: Edmundo Pacheco Hora
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação de mestrado tem como assunto principal aspectos teórico-práticos da realização de baixo contínuo, abordando-os através do estudo do conjunto de documentos deixados por J.S.Bach acerca do tema. O primeiro grupo de instruções, que recebeu especial atenção neste trabalho, data de 1725, e aparece nas páginas finais do volume de peças dedicado a sua esposa Anna Magdalena Bach. Intituladas ¿Algumas Regras do Baixo Contínuo¿, são quinze regras para a iniciação ao assunto, com finalidade didática e destinada ao uso imediato de alunos e familiares. O segundo grupo, de 1738, é um trabalho mais robusto e abrangente, resultado dos anos de atividade pedagógica de Bach em Leipzig, e leva o título ¿Preceitos e Princípios para tocar o Baixo Contínuo ou Acompanhamento a Quatro Vozes¿. Para um esclarecimento geral do assunto, recorreu-se a um estudo sobre as origens do baixo contínuo, apresentando um capítulo sobre as suas primeiras fontes históricas. A reflexão sobre o processo prático da execução de baixo contínuo, que foi objetivo principal da pesquisa, deu-se através da elaboração de uma série de exemplos musicais enfocando obras de música de câmara instrumental do compositor, além de uma análise do ¿Largo e Dolce¿, segundo movimento da Sonata em Si menor para flauta e cravo BWV 1030, cuja escrita para o último instrumento é considerada um modelo de realização de baixo contínuo do próprio Bach. O processo culminou na interpretação de obras do compositor de acordo com essas reflexões, e acredita-se que elas contribuam para o entendimento e execução de obras musicais escritas nessa linguagem
Abstract: The present dissertation has, as its main subject, the theoric and pratic aspects of figured bass realization, with a view from J.S.Bach¿s documents about it. The first group of instructions, which one has received special attention in this work, dates from 1725, and belongs to the final pages of Anna Magdalena Bach¿s notebook. ¿Some Rules of Thorough-Bass¿ are fifteen rules for the beginning in the matter, with didactic intentions and destined for his students and family¿s circle. The second group, from 1738, is a bigger and including work, resulting from his years of teaching in Leipzig, entitled ¿Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts¿. A study about the origins of the thorough-bass and its first historical sources is presented as a general understanding about the subject. As a main objective of the research, series of musical examples were developed to reflect about the pratic process of playing thorough-bass. They include works of instrumental chamber music by Bach, besides an analysis of the Largo e Dolce, second movement of the B minor Sonata for flute and harpsichord BWV 1030, in which the harpsichord part is considered a model for figured bass realization. The end of the work comes with the interpretation of the composer¿s music under these reflections, and we believe that they are a contribution for the understanding and execution of musical pieces written under this language
Mestrado
Mestre em Música

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7

Pardee, Katharine. "Perceptions of J.S. Bach and performance of his music in nineteenth-century England." Thesis, University of Oxford, 2013. https://ora.ox.ac.uk/objects/uuid:b45e576e-b727-4afa-b7e8-f55bea10b1a1.

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At the turn of the nineteenth centudy knowledge of J.S. Bach was limited in England to a very few musicians, mostly German organists connected with the Hanoverian court. By the close fof the century, Bach had won widespread popularity, and England was second only to Germany in numbers of published editions, performances, and the written word. This thesis looks at the reception of J.S. Bach in nineteenth-century England, and considers why England reacted with such enthusiasm to his works. First. the elements important to Bach reception are explored and situated in English culture at the beginning of the nineteenth century; areas such as the Ancient and Modern discourse; the interest in historicism; the attraction of German culture; the love for Handel; and the notion of the sublime (especially in terms of music) are discussed. In Chapter 2, Bach is seen through the activities of his proponents in the first part of the nineteenth century, both performers and writers. Since it will be shown that it was on the backs of the choral and organ music that Bach entered into English musical consciousness, the reception of those genres is considered in the following two chapters, with a particular focus on the St Matthew Passion and the Mass in B Minor in the area of choral music (Chapter 3). In Chapter 4 I consider Bach and the English organ, and the activities of Mendelssohn, Gauntlett, and those others who were his advocates in the first half of the century after Wesley. Finally, I summarise the topic by looking at the ways his music was interpreted to fit the ideal so nineteenth-century English culture, and how he was regarded through an English lens.

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8

Jank, Helena 1939. "J.S.Bach variações "Goldberg" : um guia para a formação do homem completo." [s.n.], 1988. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284302.

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Orientador : Ubiratan D'Ambrosio
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Dentre muitas formas possíveis de abordagem para esta obra monumental de J. S. Bach, o presente trabalho traz um enfoque eminentemente humanístico, através do qual transparece a intenção do compositor de estruturar, na forma de tema e variações um ?guia para a formação do homem completo? Esta intenção se manifesta na organização geral da obra, com uma clara divisão em três grupos de variações, nos quais são explorados aspectos técnicos, composicionais e de interpretação. Com base na visão antroposófica de Rudolf Steiner, e encontrando apoio em autores como Ingrid e Helmut Kaussler, e Hermann Pfrogner, estabelece-se uma relação entre o trabalho de preparação da obra e o desenvolvimento interno do intérprete, ao estudar a música, ou do ouvinte, ao se expor a ela o homem se vê refletido na obra de arte, tornando-se parte dela, e ao mesmo tempo contemplando-a à distância. . No exercício de reconhecer as mensagens contidas na obra de arte, toma-se sensível à sua própria dinâmica interna, e percebe-se renovado pela ordem e harmonia do universo
Abstract: Not informed.
Doutorado
Doutor em Artes

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9

Noyer, Jérémie. "L'utopie liturgique : la "Missa en si mineur" de Johann Sebastian Bach." Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10077.

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La missa en si mineur de bach pose un certain nombre de problemes lies tant a notre situation actuelle qu'a son site natif. L'absence d'activation de cette oeuvre dans toutes les situations qu'elle a rencontrees jusqu'ici, au profit de la messe en si, nous invite vraiment a l'interroger. Interroger tout d'abord sa tres faible activation dans les interpositions de toutes les couches stratigraphiques qu'elle a rencontrees, a l'interieur une demarche recursive ou a rebours, veritable demarche de recherche, et interroger cette oeuvre dans son actualite, dans toutes les dimensions qu'elle revet aujourd'hui, qu'elle a revetues et qui, toutes, participent de son identite actuelle. On s'apercevra que toutes ces dimensions participent d'une ideologie autour de la missa, et les limites de cette ideologie permettront d'entrevoir des elements d'utopie dans la nature-meme de cette oeuvre, souhaitee par bach comme une utopie liturgique, ainsi que dans notre perception actuelle de l'oeuvre musicale liturgique, qui, de par sa nature particuliere, demande une approche adequate, afin d'en produire une lecture satisfaisante qui la respecte en tant que musique, discours theologique et liturgie.

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10

Leite, Zilei de Oliveira. "Applications of Reductive Analytical Techniques in the Phrygian Settings of the Orgelbüchlein by J.S. Bach." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279049/.

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This study aims to two problematic aspects of the Phrygian mode: a. the development of a harmonic pattern at the cadence that differs from that of the other modes and of the major and minor modes as well; b. the observation that the Phrygian scale inverts all of the intervallic properties of the Major scale. The result of these two observations is that when the reductive techniques of Heinrich Schenker are applied in the Phrygian repertory, melodic and harmonic properties are brought into conflict with each other. However, application of alternative models of the Ursatz developed by Lori Burns has certain benefits for demonstrating musical properties in the Phrygian repertory.

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11

Simpson, Will M. "A conductor's guide to J.S. Bach's Cantata 150 "Nach dir, Herr, verlanget mich"." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1389681.

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Conducting the cantatas of Johann Sebastian Bach can be a challenge of sizeable proportions. A significant part of the challenge arises from interpreting and synthesizing several key elements. These elements must be addressed by the conductor if she or he is to produce an informed performance of the work. Before conducting J.S. Bach's Cantata 150, a conductor must have specific knowledge of the various issues that directly impact the performance of the cantata. These issues include appropriate tempi, performing pitch, dynamics, phrasing and articulation, ornamentation, continuo issues, size and sonority of ensemble, historical background, text painting and period instrument factors. This dissertation provides the conductor with a practical and functional guide that addresses the many interpretative elements and provides answers to several specific questions about Cantata 150, aiding the conductor in making critical decisions about preparing and performing this cantata. Divided into three main sections, including a performance practice chapter, a theoretical analysis chapter and a synthesis chapter, this practical manual analyzes and examines the cantata from a performer's point of view. A selected Discography is included.
School of Music

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12

Oliveira, Andre Luiz Muniz. "O Magnificat de Johann Sebastian Bach : uma interpretação a luz do seu significado retorico musical." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284123.

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Orientadores: Eduardo Ostergren, Helena Jank
A biblioteca do IA possui CD-ROOM
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho constitui-se de um estudo do Magnificat em Ré Maior de Johann Sebastian Bach à luz de seu significado retórico. A pesquisa teórica aborda o contexto histórico-musical e a estruturação interna da peça, notadamente no que tange ao uso de figuras de retórica musica. Aspectos de grafia dos andamentos da articulação são apresentados em consonância com as práticas musicais existentes à época de composição da obra. Uma vez observados os artificios composicionais e interpretativos, conclui-se que a intenção de Bach era intensificara a veemência de palavras como: Louvar, humildage, soberba e misericórdia. Estes aspectos estão em conformidade com a visão teológica da igreja luterana e o intérprete poderá valer-se dos mesmos para conceber sua Ínterpretação
Abstract: The present work consists of a study of the Magnificat in D Major of Johann Sebastian Bach to the light of its rhetorical emphasis. The theoretical research approaches the historic-musical context and the internal construction of the piece, especially as regards with the use of musical figures. Aspects of tempo and articulation are presented according to the musical practices in the Baroque Period. Once observed these compositional and interpretative procedures, one reachs the conclusion that Bach's intention was the intensification of vehement words such as: praise; humility, pride; and mercy. The aspects are in accordance with the theological view of the Lutheran church and the performer can refer to them to conceive his own interpretation
Mestrado
Mestre em Artes

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13

Freitas, Thiago Colombo de. "Ciaccona em ré menor BWV 1004 de J.S. Bach : um estudo das articulações e uma transcrição para violão." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/4685.

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Este trabalho é uma análise das articulações indicadas por Johann Sebastian Bach (1685-1750) na sua Ciaccona em ré menor - quinto movimento da Partita II para violino solo, BWV 1004 – e uma transcrição desta obra para violão. A questão da interpretação dos sinais de articulação assinalados por Bach é abordada a partir de referenciais teóricos e práticos. São discutidas as tradições de execução e os variados entendimentos atribuídos por estas aos sinais de articulação.

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14

Kreuzkirchgemeinde, Evangelisch-Lutherische. "Johannespassion (2011) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 – 1750), BWV 245: Kreuzkirche Dresden, Sonnabend 2. April 2011 17.00 Uhr." Dresdner Kreuzchor, 2011. https://slub.qucosa.de/id/qucosa%3A71352.

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15

Lee, Jung-Ok. "A study of two organ chorale preludes of Johann Sebastian Bach (1685-1750) transcribed by Wilhelm Kempff (1895-1991)." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2564.

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Wilhelm Kempff was one of the greatest pianists of the twentieth century, and his interpretation of Germanic piano literature has been honored in Europe, Africa, Asia, and America by many distinguished musicians and music-lovers. But perhaps because he was already sixty-nine years old at the time of his American debut in New York in 1964, his reputation as a pianist tends to be disregarded in English speaking nations. Even Alfred Brendel acknowledges in his book Me of All People: "I return again and again to Kempff, because he is a pianist who seems frequently underestimated today." Furthermore, Kempff's activities as a transcriber, organist, and composer are even less well known. Thus this paper will introduce Wilhelm Kempff's life and music, and present a study of his solo piano transcriptions of J. S. Bach's chorale preludes for organ. In Kempff's autobiographical novel, Unter Dem Zimbelstern: Das Werden eines Musikers ("Under the Cymbal Star: The Development of a Musician"), a Bildungsroman ("education novel") published in 1951 when he was fifty-six years old, he describes the environment in which he grew up: an environment steeped in music and Protestantism. Within a strong family tradition of church music organists, he heard Bach's organ repertoire, as well as conversations about Lutheran faith. His father and paternal grandfather were both Lutheran church organists, and Kempff too was an excellent organist. J. S. Bach's organ repertoire, especially his chorale for organ, were deeply ingrained in Kempff's childhood. It is generally very difficult to find sacred music repertoire for the piano; however, Kempff's transcriptions of the chorale preludes represent a small--though important--contribution of sacred literature to the piano repertoire. In The Pianist's Guide to Transcriptions, Arrangements, and Paraphrases, Maurice Hinson characterizes Kempff's transcriptions as follows: "Kempff makes clear distinctions between the various parts and uses ingenious fingering to create beautiful legato (without relying totally on the pedal). He also seems to enjoy the interplay of tone colors, finding the right register, and establishing the particular timbre of each part in polyphonic writing." This paper will examine: 1) basic transcription techniques; 2) coloration/timbre; 3) fingering to create beautiful legato; 4) pedaling; and 5) pedagogical suggestions. Kempff transcribed eight of Bach Chorales for solo piano, two of which will be discussed in this paper: 1) Ich ruf zu dir, Herr Jesu Christ ("I call to you, Lord Jesus Christ" BWV639,); 2) Nun Komm der Heiden Heiland ("The Saviour of the Heathen now comes," BWV659a). This paper also will present a brief history of piano transcriptions, followed by a detailed analysis of the two chorales, examining Kempff's methods through comparison with the original works for organ, and demonstrating how Kempff's musicianship as a pianist and organist is reflected in his Bach transcriptions.

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16

Justi, Katia Regina Kato. "A missa em si menor de Johann Sebastian Bach = a poética e o trágico = Johann Sebastian Bach's B minor mass : poetic and the tragic." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284540.

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Orientador: Paulo Mugayar Kühl
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A proposta deste trabalho é fazer uma investigação da Missa em Si menor, BWV 232, de Johann Sebastian Bach, seguindo parâmetros que enfoquem alguns procedimentos poéticos e retóricos nela utilizados. Investigando a luz das poéticas clássicas, sobretudo da Poética de Aristóteles, e apoiando-se nas teorias musicais alemãs propostas pelos autores da Musica Poetica, pretende-se verificar a presença de alguns aspectos do pensamento aristotélico na criação artística de Bach. Através dos estudos que envolvem a visão filosófica, retórica e musical no processo de criação musical alemã do séc. XVIII este trabalho examina uma possível aproximação entre a tragédia grega, principal gênero poético, e a missa católica, cujo grande exemplo trágico-religioso-musical pode ser encontrado na Missa em Si menor
Abstract: This dissertation analyses J. S. Bach's Mass in B minor, BWV 232, according to some poetical and rhetorical parameters. Through classical poetics, especially Aristotle's Poetics, and supported by German theorists of Musica Poetica, the purpose of this research is to verify the presence of some aspects of Aristotelian thought in Bach's artistic creation. Studies that involve philosophy, rhetoric and music in the German process of musical creation during the eighteenth century, this study investigates a possible approach between Greek tragedy, the main poetic genre, and Catholic Mass: the great tragic, religious and musical example can be found in the Mass in B Minor
Doutorado
Fundamentos Teoricos
Doutora em Música

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Brass, Christophe. "La Basse fondamentale dans le "Clavier bien tempéré" de Johann Sebastien Bach." Université Marc Bloch (Strasbourg) (1971-2008), 2001. http://www.theses.fr/2001STR20032.

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La basse fondamentale, représentation mentale abstraite de la note la plus basse d'un accord parfait, de septième ou de neuvième à l'état fondamental et représentée par la "note fondamentale", n'est pas une invention théorique mais un mode de pensée qui s'est élaboré collectivement et qui prend sa source dans la double réalité mélodique et harmonique de l'intervalle
The fundamental bass or abstracted mental representation from the lowest note of a triad in the root position, is represented by the fundamental note

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18

Murphy, Liesel. "A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1023.

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This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2001) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: 7. Januar 2001 17 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2001. https://slub.qucosa.de/id/qucosa%3A71322.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2002) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: 6. Januar 2002 17 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2002. https://slub.qucosa.de/id/qucosa%3A71324.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2005) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: 9. Januar 2005 19 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2005. https://slub.qucosa.de/id/qucosa%3A71329.

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Justi, Katia Regina Kato. "O Oboe e a representação da Confiança nas arias das cantatas sacras de J.S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284316.

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Orientador: Helena Jank
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5) Previous issue date: 2007
Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundamentos e sua grande influência na música. Procuramos fazer, nos diversos períodos da vida de Bach, um levantamento de todas as árias compostas para oboé, com especial ênfase nas árias compostas para um instrumento obbligato. Avaliamos também a grande importância das doutrinas da Musica Poetica e da retórica na vida e no pensamento musical alemão e como essas doutrinas influenciaram as composições de Bach. Finalmente buscamos traçar relações entre os aspectos retórico-musicais e a utilização do oboé obbligato nas árias sacras com os afetos da confiança e do temor
Abstract: This work aims at investigating, from a rhetoric point of view, the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. Treating the different periods of Bach's life, we tried to gather all of his arias composed for the oboe, with special emphasis in the arias composed for an obbligato instrument. We also evaluated the great importance of the doctrines of Musica Poetica and of life rhetorics to the musical German thought. We also evaluated how these doctrines influenced Bach's compositions. Finally, we tried to trace the relationships between the rethorical musical aspects and the use of the obbligato oboe in the sacred arias with the affects of trust and fear
Mestrado
Mestre em Música

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23

Lim, Aesook. "The Long Chorale Preludes of J. S. Bach (1685-1750): Study of Accompaniments together with Three Recitals of Selected Works by Dietrich Buxtehude (1637-1707), J. S. Bach, Louis Vierne (1870-1937), and Others." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5219/.

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Johann Sebastian Bach's chorale preludes are varied and artistic not only in the treatment of chorale melodies, but also in the accompaniments of those chorale melodies. This study examines the accompaniments of Bach's long chorale preludes, focusing on identifying the various types and the characteristics that make them unique. This study investigates the two broad categories of accompaniments depending on whether the motives are chorale-derived or independent of the chorale. While the chorale prelude accompaniments in the first large group are closely related, the accompaniments of the chorale preludes in the second group stand independently and illustrate the vast range of Bach's compositional skill. Both groups demonstrate Bach's interest in expanding his predecessors' models, a trait that can be traced throughout all of Bach's compositional history.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2006) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonntag 8. Januar 2006 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2006. https://slub.qucosa.de/id/qucosa%3A71332.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2007) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Samstag 06. Januar 2007 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2007. https://slub.qucosa.de/id/qucosa%3A71334.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2008) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonntag 6. Januar 2008 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2008. https://slub.qucosa.de/id/qucosa%3A71336.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2009) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 10. Januar 2009 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2009. https://slub.qucosa.de/id/qucosa%3A71337.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2010) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 09. Januar 2010 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2010. https://slub.qucosa.de/id/qucosa%3A71339.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2011) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 8. Januar 2011 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2011. https://slub.qucosa.de/id/qucosa%3A71341.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2012) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 7. Januar 2012 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2012. https://slub.qucosa.de/id/qucosa%3A71343.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2013) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonntag 6. Januar 2013 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2013. https://slub.qucosa.de/id/qucosa%3A71345.

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Quinteros, Carmen Veronica School of Sociology &amp Anthropology UNSW. "Creativity, order and discipline." Awarded by:University of New South Wales. School of Sociology and Anthropology, 2004. http://handle.unsw.edu.au/1959.4/20741.

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For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and poetry pours forth from them! They are the very essence of Bach, and Bach is the essence of music. (Casals:1974:17 & 47). Such comments, common among musicians, are usually ignored by the disciplines that study music. This thesis, however, is the result of a decision to take these comments seriously. This thesis addresses the issues of creativity, order and discipline, through the perspective of a sociology and phenomenology of everyday life. The main issues of this thesis are first introduced through Bachelard???s phenomenological study of poetry and Heidegger???s approach to art. Embodied modes of knowing are introduced through Buber???s dialogic I-Thou concept. This is followed by Winnicott???s discussion of creativity and Bohm and Peat???s discussion of order. Discipline is introduced through a counter-analysis of some central sociological theorists on authority and power: Lukes, Foucault and Durkheim. Among other writers influential for the thesis are Eliade on origins, sacred temporality and ???eternal return???, Simmel and Douglas on space, Levinas, Merton, Herrigel and Stendl- Rast on ethics and discipline. Hegel and Sartre on identity-logic and Serres on relational modes of knowing. The main issues are drawn from experiences with music and particularly with the music of J. S. Bach. These experiences raise ontological, cosmological and epistemological questions that are examined in this thesis. The material used in the analysis is drawn from musicians??? experiences and from a variety of sources non-academic and academic.

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Ambiel, Aurea Helena de Jesus. "Ricercar a 6 de Johann Sebastian Bach e a sua orquestração na fuga (Ricercata) a 6 Voci por Anton Webern : a tecnica Klangfarbenmelodie e a serialização motivico-timbrica." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284279.

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Orientadores: Helena Jank, Hans Joachim Koellreutter
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-02T10:33:22Z (GMT). No. of bitstreams: 1 Ambiel_AureaHelenadeJesus_M.pdf: 13062174 bytes, checksum: e5c389bf8723134a6663a1c95f8dafb6 (MD5) Previous issue date: 2002
Resumo: O presente trabalho tem como objeto de estudo as obras Ricercar a 6 ( do Musikalisches Opter) de J. S. Bach e a orquestração desta obra por Anton Webern que se intitula Fuga ( Ricercata ) a 6 voei. O Musikalisches Opfer ( Oterenda Musical) foi composto em 1747 e a orquestração por Webern data de 1934 - 1935. Através de uma análise comparada procura-se demonstrar quais são os procedimentos utilizados pelo compositor ao explorar os recursos técnicos do estilo contrapontístico e do orquestrador através da técnica Klangtarbenmelodie e da serialização motívicotímbrica. Estabelece-se assim uma correlação de elementos do passado barroco e do presente weberniano assegurados pelo princípio de repetição que estabelece relações coerentes entre os elementos da obra
Abstract: Not informed.
Mestrado
Mestre em Artes

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Čechová, Markéta. "Modelové situace a ornamentální kontrapunkt v Dobře temperovaném klavíru I. J. S. Bacha." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-177738.

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The Master thesis named "Model situations and ornamental counterpoint in The Well Tempered Clavier, book 1, by J. S. Bach" deals with the musical language of composers, specially one like J. S. Bach. The first chapters shows historical facts about when the work was written, explains facts about the instrument and tuning. The second chapter explains the method of analysis, which is based on German musical theorists. Thethird chapter explains, what model situations are and their importance for a musician. In the fourth chapter I speak about ornaments in general and which importance they have for a musician, who is specialized on Baroque music. the fifth chapter deals with the prelude and his history, the sixth chapter deals with the fugue, and explains the process of composing. In the seventh chapter I analýze a fex compositions from the Well Tempered Clavier, book 1, to show different kinds of preludes and fugues in detail.

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Nováková, Denisa. "Cembalo - generálbasový a obligátní nástroj v komorní hudbě J. S. Bacha (se zaměřením na sonáty pro housle a cembalo)." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177795.

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Master's graduatinon thesis Harpsichord-Basso continuo and obligate instrument in chamber music by J.S.Bach (focusing on sonatas for violin and harpsichord) deals mainly with 17th and 18th century. The content of the thesis is divided into three main chapters, which are further divided into sub-chapters, accompanied by footnotes and the note annexex at the end of the thesis. The first chapter outlines the role of the harpsichord in the play basso continuo. The second chapter deals with the transformation of basso continuo parts to obbligato parts from German authors of the 18th century. The third chapter analyzes the topic of the harpsichord concerto as instruments in the violin sonatas by Bach and explains the Bach Sonata in E Major for obbligato harpsichord and violin (BWV 1016) which I played at the master´s concert. The final chapter is a summary of the previous chapters.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2011) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Kreuzkirche Dresden, Gründonnerstag 21. April 2011 19.00 Uhr, Karfreitag 22. April 2011 16.00 Uhr." Dresdner Kreuzchor, 2011. https://slub.qucosa.de/id/qucosa%3A70885.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2005) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 24. März 2005 19 Uhr, Karfreitag, 25. März 2005 16 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2005. https://slub.qucosa.de/id/qucosa%3A71307.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2006) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 13. April 2006 19.00 Uhr, Karfreitag 14. April 2006 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2006. https://slub.qucosa.de/id/qucosa%3A71308.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2007) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 5. April 2007 19.00 Uhr, Karfreitag 6. April 2007 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2007. https://slub.qucosa.de/id/qucosa%3A71309.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2008) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 20. März 2008 19.00 Uhr, Karfreitag 21. März 2008 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2008. https://slub.qucosa.de/id/qucosa%3A71310.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2009) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 9. April 2009 19.00 Uhr Karfreitag 10. April 2009 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2009. https://slub.qucosa.de/id/qucosa%3A71311.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2010) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 1. April 2010 19.00 Uhr Karfreitag 2. April 2010 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2010. https://slub.qucosa.de/id/qucosa%3A71312.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2012) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 05. April 2012 19.00 Uhr Karfreitag 06. April 2012 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2012. https://slub.qucosa.de/id/qucosa%3A71315.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2014) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): 17. April 2014 Gründonnerstag 19.00 Uhr, 18. April 2014 Karfreitag 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2014. https://slub.qucosa.de/id/qucosa%3A71317.

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Chudý, Vít. "Houslové koncerty J. S. Bacha se zaměřením na stěžejní díla (BWV 1041, 1042, 1043)." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261361.

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The diploma thesis discusses violin concertos and concertante works with violin solo part by Johann Sebastian Bach. The main focus is on three concertos from the „köthen period“ BWV 1041-1043. Out of the formal analysis there is even the interpretation comparation not missing.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2013) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 28. März 2013 19:00 Uhr Karfreitag 29. März 2013 16:00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2013. https://slub.qucosa.de/id/qucosa%3A71316.

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Atli, Ellendersen. "Parâmetros interpretativos para a sonata para violino solo em lá menor, BWV 1003 de J. S. Bach." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/27445.

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Resumo: Este trabalho trata de questões de interpretação de música barroca, mais especificamente de parâmetros interpretativos para a Sonata para Violino solo em Lá menor, BWV 1003 de Johann Sebastian Bach. A sonata faz parte de um conjunto de obras que são referência absoluta no repertório para violino e imprescindíveis na formação violinística. O estudo traz um resumo do debate travado no final do século XX sobre o papel do intérprete e sua relação com o texto musical e com o compositor. É apresentada uma síntese da crítica e autocrítica feita da interpretação historicamente informada e chega-se à conclusão que o movimento de música antiga é legítimo, trazendo diversificação para o cenário interpretativo. Para contextualizar a sonata, traço um histórico da música escrita para violino desde o início do século XVII até a gênese dos Sei Solo por volta de 1720. Uma análise é feita de sete gravações diferentes da sonata, quatro modernas e três com violino barroco, e estas são confrontadas com ou comparadas à literatura sobre interpretação dos últimos 300 anos.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2001) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 12. April 2001 19 Uhr, Karfreitag, 13. April 2001 16 Uhr in der Kreuzkirche zu Dresden." Dresdner Kreuzchor, 2001. https://slub.qucosa.de/id/qucosa%3A71303.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2002) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 28. März 2002 19 Uhr, Karfreitag, 29. März 2002 16 Uhr in der Kreuzkirche zu Dresden." Dresdner Kreuzchor, 2002. https://slub.qucosa.de/id/qucosa%3A71304.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2003) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 17. April 2003 19 Uhr, Karfreitag, 18. April 2003 16 Uhr in der Kreuzkirche zu Dresden." Dresdner Kreuzchor, 2003. https://slub.qucosa.de/id/qucosa%3A71305.

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