Academic literature on the topic '1685-1750'

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.

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<br>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

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<br>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

Orientador: Edmundo Pacheco Hora<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-08T23:18:38Z (GMT). No. of bitstreams: 1 Rosa_StellaJocelinaAlmeida_M.pdf: 8868389 bytes, checksum: c5eca93c5b6405115e9d07d8b3208c78 (MD5) Previous issue date: 2007<br>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<br>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<br>Mestrado<br>Mestre em Música

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.

Orientador : Ubiratan D'Ambrosio<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-16T06:07:50Z (GMT). No. of bitstreams: 1 Jank_Helena_D.pdf: 5322088 bytes, checksum: c52e699aa7b30c81f97e4e9944a10c30 (MD5) Previous issue date: 1988<br>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<br>Abstract: Not informed.<br>Doutorado<br>Doutor em Artes

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.

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.