Academic literature on the topic 'Bach, Johann Sebastian, 1685-1750. Organ music'
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Journal articles on the topic "Bach, Johann Sebastian, 1685-1750. Organ music"
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Medňanský, Karol. "1. Period Influence on the Work of Johann Sebastian Bach." Review of Artistic Education 19, no. 1 (April 1, 2020): 1–9. http://dx.doi.org/10.2478/rae-2020-0001.
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AbstractThe work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther’s Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.
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Hwi, L. P., and J. W. Ting. "36. Practicing medicine and music II: Ophthalmology and music." Clinical & Investigative Medicine 30, no. 4 (August 1, 2007): 46. http://dx.doi.org/10.25011/cim.v30i4.2796.
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Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years.
The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing.
Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278.
Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93.
Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.
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BUTT, JOHN. "ALTBACHISCHES ARCHIV: WORKS BY JOHANN BACH (1604–1673), JOHANN CHRISTOPH BACH (1642–1703), GEORG CHRISTOPH BACH (1642–1697), JOHANN MICHAEL BACH (1648–1694), JOHANN SEBASTIAN BACH (1685–1750) Cantus Cölln / Concerto Paladino / Konrad Junghänel Harmonia Mundi HMC901783/84, 2003; two discs, 2'33"." Eighteenth Century Music 1, no. 1 (March 2004): 109–11. http://dx.doi.org/10.1017/s1478570604290078.
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Tantra, Carolien Eunice, and Mark Peters. "J. S. Bach’s Church Cantatas and Church Music Today." Veritas: Jurnal Teologi dan Pelayanan 20, no. 1 (July 19, 2021): 137–52. http://dx.doi.org/10.36421/veritas.v20i1.473.
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How do we as Christians today learn about worship and church music? How do we think about not only what music we will sing in Christian worship, but also the principles that should guide us in choosing and leading church music? Certainly, there are many different ways we answer that question: we study the Bible, we sing the words of the Scriptures, we read what theologians, worship leaders, and scholars of church music are writing today, we attend lectures and conferences by scholars and practitioners of church music. In this article, I offer and explore yet another example of how we live out God’s call in leading music for the Christian church: by studying the example of a faithful Christian musician from the past. My particular example for this article is the German composer and church musician Johann Sebastian Bach (1685-1750). I want to clarify from the start that I am not arguing that J. S. Bach is the best example of a Christian church musician and certainly not that he is the only example. But Bach does offer us one example of a musician who dedicated most of his life to creating and leading music for the Christian church and sought to do so faithfully, creatively, and skillfully.
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HALL, MATTHEW J. "JOHANN SEBASTIAN BACH (1685–1750), ED. DAVID SCHULENBERG COMPLETE ORGAN WORKS, VOLUME 1 (PRELUDES AND FUGUES I)Wiesbaden: Breitkopf & Härtel, 2013 pp. 139, ismn979 0 004 18372 4 - JOHANN SEBASTIAN BACH (1685–1750), ED. DAVID SCHULENBERG COMPLETE ORGAN WORKS, VOLUME 2 (PRELUDES AND FUGUES II)Wiesbaden: Breitkopf & Härtel, 2014 pp. 148, ismn979 0 004 18373 1." Eighteenth Century Music 12, no. 2 (August 24, 2015): 246–47. http://dx.doi.org/10.1017/s1478570615000093.
Full textDissertations / Theses on the topic "Bach, Johann Sebastian, 1685-1750. Organ music"
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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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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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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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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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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 KühlTese (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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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 HoraDissertação (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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Montaigu, Ginette. "La Vision du Christ, l'Un de la Trinité, et du Dieu trinitaire chez Jean-Sébastien Bach." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0324.
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Une première partie, après l’introduction, est consacrée aux deux passions de Jean-Sébastien Bach, la musique et la théologie-à l’héritage européen du compositeur, tant au point de vue musical que théologique. La seconde partie s’attache à l’analyse d’œuvres de Bach. La cantate Christ lag in Todesbanden a une place essentielle dans la liturgie protestante. Le compositeur reprend les versets du cantique du même nom écrit par Luther. L’attachement du Réformateur est viscéral pour le mystère de la Rédemption et son instrument, la Croix. Jean-Sébastien Bach éprouve la même adoration pour le Christ supplicié, mais il insiste fortement sur l’aspect lumineux de l’autre mystère du Christ, la Résurrection. La cantate Ich hatte viel Bekümmernis introduit le dialogue entre l’âme et Jésus qui laisse pressentir les futures consolations réservées à l’âme qui s’interroge sur l’abandon de Dieu. Une atmosphère de joie débordante en finale de l’œuvre avec jeu de timbales affirme la confiance en Dieu. Matthäus-Passion se termine certes par le repos serein du Christ dans le tombeau, mais la Passacaille, la Messe d’orgue du Klavierübung III soulignent l’hommage au Christ triomphant de la Mort, en accord avec les deux autres personnes de la Trinité. Une troisième partie montre que certaines œuvres dites profanes ont un caractère religieux. On retrouve la symbolique du Christ et du Dieu trine dans des fugues du Clavier bien tempéré. La théologie de la Croix de Luther est suivie par la théologie de la Gloire dans l’œuvre de Bach comme chez les théologiens scolastiquesA first part, after the introduction, is devoted to the two passions of Johann Sebastian Bach, music and theology-to the European heritage of the composer, from a musical as well as a theological. The second part sticks to the analysis of works of Bach. The Cantata BWV4 Christ lag in Todesbanden has an essential place in the Protestant liturgy. The composer takes up again the verses of the canticle of the same name written by Luther. The attachment of the Reformer to the mystery of Redemption and its instrument the Cross is deep-rooted. Johann Sebastian Bach feels the same worship for Christ executed, but he strongly insists on the luminous aspect of the other mystery of Christ, the Resurrection. The Cantata BWV21 Ich hatte viel Bekümmernis introduces the dialogue between the heart and Jesus which gives a feeling of the future divine consolations reserved for the soul wondering about God's abandonment. An atmosphere of overflowing joy in the finale of the work with a play of trumpets asserts confidence in God. Saint Matthew's Passion certainly ends with the serene rest of Christ in the sepulchre, but the Passacaglia in C minor, and the Mass Organ part of Clavierübung III underline homage to Christ triumphing over Death, in harmony with the other two persons of the Holy Trinity. A third part shows that some profane works have a religious character. One finds the symbolism of Christ and the triune God in Fugues from the Well-Tempered Clavier. Luther’s theology of the Cross is followed by the theology of Glory in the work of Bach, as with the Scholastic theologians
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Quinteros, Carmen Veronica School of Sociology & 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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Du, Preez Niel. "Die Variationen und Fuge über ein Thema von Joh. Seb. Bach op. 81 van Max Reger." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50330.
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Thesis (MMus) -- University of Stellenbosch , 2005.ENGLISH ABSTRACT: In his lifetime Reger was under constant pressure to prove his musical abilities as a composer. With their subjective opinions numerous critics systematically damaged his reputation. In this thesis the focus will be on the Bach- Variations op. 81, a work that probably contributed mostly to the extensive polemic around Reger's style, but also a work that shows his uniqueness and importance as a composer. Op. 81 is a large-scale work that, in my opinion, is unfairly underestimated. This may be due to the fact that it has not yet gained its rightful place in the repertoire. The purpose of my study is to make a positive contribution that hopefully can lead to greater appreciation of Reger and his music. The thesis starts by shedding light on Reger's complex personality and overall living circumstances, as well as on the situation of composition in the early 20th century. It partly consists of a shortened biography, followed by a commentary on the Bach- Variations. Finally a comparison is made between the autograph of op. 81, the printed proof copy (1904), the first edition in 1904, and the Complete Works edition of 1959.
AFRIKAANSE OPSOMMING: In sy eie lewe moes Reger deurgaans veg sodat sy musiek deur die publiek aanvaar kon word. Kritici het met hul subjektiewe menings redelike skade berokken, wat die ontwikkeling van sy reputasie as komponis bemoeilik het. In hierdie tesis word daar gefokus op Reger se Bach- Variasies op. 81, 'n werk wat miskien meer as enige andere bygedra het tot die groot polemiek rondom Reger se styl, maar ook 'n werk wat sy uniekheid en waardigheid as komponis sou bewerkstellig. Op. 81 is 'n grootskaalse werk, wat volgens my mening onderskat word. Miskien is dit weens die feit dat dit nie genoeg bekendheid verwerf het tot op hede nie. Die doel van my studie is dus om 'n positiewe bydrae te maak wat hopelik kan lei tot groter waardering vir Reger en sy musiek. Die tesis begin deur lig te werp op Reger se komplekse persoonlikheid en algemene lewensomstandighede, asook op die stand van komposisie in die vroee jare van die 20ste eeu. Dit bestaan dus deels uit 'n verkorte biografie, gevolg deur 'n bespreking van die Bach- Variasies. Ten slotte word daar 'n vergelyking getref tussen die op. 81-outograaf, die gedrukte proefkopie (1904), die eerste druk in 1904, en die volledige uitgawe van 1959.
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Pérez, Torres René. "Bach's Mass in B minor: An Analytical Study of Parody Movements and their Function in the Large-Scale Architectural Design of the Mass." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4945/.
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Most studies of the Mass in B Minor deal with the history of the work, its reception history, primary sources, performance practice issues, rhetoric, and even theological and numerical symbolism. However, little research focuses on an in-depth analysis of the music itself. Of the few analytical studies undertaken, to date only a limited number attempt to explain Bach's use of parody technique or unity in the whole composition. This thesis focuses on understanding three primary concerns in regards to the Mass in B minor: to comprehend how preexistent material was adapted to the context of the Mass, how this material functions in the network of the entire composition, and how unity is achieved by means of large-scale voice leading. The results of this study not only provide new information about this monument of Western music, but also provide insight to the deep sense of large-scale structure in Bach's work.
Books on the topic "Bach, Johann Sebastian, 1685-1750. Organ music"
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1972-, Zepf Markus, ed. The organs of J. S. Bach: A handbook. Urbana: University of Illinois Press, 2012.
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2
J.S. Bach at his royal instrument: Essays on his organ works. New York: Oxford University Press, 2012.
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3
The reception of Bach's organ works from Mendelssohn to Brahms. New York: Oxford University Press, 2006.
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4
Bach's feet: The organ pedals in European culture. Cambridge: Cambridge University Press, 2011.
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5
Marshall, Robert Lewis. The music of Johann Sebastian Bach. New York, NY: Schirmer, 1989.
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6
The creative development of Johann Sebastian Bach. Oxford: Oxford University Press, 2007.
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7
Bach: Essays on his life and music. Cambridge, Mass: Harvard University Press, 1991.
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8
Wolff, Christoph. Bach: Essays on his life and music. Cambridge, MA: Harvard U.P., 1993.
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9
Bach-Interpretationen-Nationalsozialismus: Perspektivenwandel in der Rezeption Johann Sebastian Bachs. Frankfurt: Peter Lang, 2011.
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10
Johann Sebastian Bach: His work and influence on the music of Germany, 1685-1750. London: Novello, 1992.
Find full textBook chapters on the topic "Bach, Johann Sebastian, 1685-1750. Organ music"
1
Alwes, Chester L. "The Choral Music of Johann Sebastian Bach (1685–1750)." In A History of Western Choral Music, Volume 1, 281–316. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780195177428.003.0010.
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