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Relevant bibliographies by topics / Bach, J.S./music

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Academic literature on the topic 'Bach, J.S./music'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Bach, J.S./music"

1

Norman, Philip K. "J. S. Bach?" Musical Times 128, no. 1730 (April 1987): 188. http://dx.doi.org/10.2307/965415.

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Broman. "Another Woody: J. S. Bach in Dixieland." Bach 50, no. 2 (2019): 254. http://dx.doi.org/10.22513/bach.50.2.0254.

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Schulze, Hans-Joachim. "Aufsatzsammlungen." Bach-Jahrbuch 74 (May 9, 2018): 240–43. http://dx.doi.org/10.13141/bjb.v19882603.

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Besprochen: Williams, Peter (Hg.): Bach, Handel, Scarlatti. Tercentenary Essays. Cambridge etc. 1985 Stauffer, George; May, Ernest (Hg.): J. S. Bach as Organist. His Instruments, Music, and Performance Practices. Bloomington 1986 Wolff, Christoph (Hg.): Early Music. J. S. Bach Tercentenary Issue. London 1985 Szeskus, Rainer; Asmus, Jürgen (Hg.): Johann Sebastian Bachs Traditionsraum. Leipzig 1986

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Zatorski, Thomas. "The Organ Music of J. S. Bach." Music Educators Journal 92, no. 3 (January 2006): 20. http://dx.doi.org/10.2307/3401132.

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Boyd, Malcolm. "J. S. Bach: two choral masterpieces." Early Music XXII, no. 3 (August 1994): 525–26. http://dx.doi.org/10.1093/earlyj/xxii.3.525.

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Varwig. "Distributed Listening: Aural Encounters with J. S. Bach's Sacred Cantatas." Bach 51, no. 2 (2020): 210. http://dx.doi.org/10.22513/bach.51.2.0210.

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Kupfer. "“Good Hands”: The Music of J. S. Bach in Television Commercials." Bach 50, no. 2 (2019): 275. http://dx.doi.org/10.22513/bach.50.2.0275.

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McMullen, Dianne M., Meredith Little, and Natalie Jenne. "Dance and the Music of J. S. Bach." Notes 50, no. 1 (September 1993): 129. http://dx.doi.org/10.2307/898712.

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Archbold, Lawrence. "The Organ Music of J. S. Bach (review)." Notes 61, no. 2 (2004): 430–32. http://dx.doi.org/10.1353/not.2004.0126.

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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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Dissertations / Theses on the topic "Bach, J.S./music"

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Francis, Mark S., and Mark S. Francis. "REVELATION OR PHILOSOPHY: DEFINING SYMBOLISM IN THE MUSIC OF J. S. BACH." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626513.

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Jones, Gary Scott. "A conceptual method of learning jazz improvisation through studying the music of J. S. Bach." Thesis, West Virginia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618108.

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Johann Sebastian Bach's music includes exceptional source material for learning jazz improvisation. This research document has three sections. Chapter 1 is a concise review of respected jazz studies literature. Chapters 2 through 4 introduce a jazz improvisation methodology with Bach's music as its source material. The appendix presents materials on topics such as using improvisation for learning music, understanding improvisation, and organ improvisation. The target audience members for this research document are improvisation teachers who already possess an applicable knowledge of improvisation, pop/jazz chord symbols, and traditional music theory. The figures contained in Chapters 2 through 4 guide educators through ways to incorporate each musical exercise into instruction. Other primary audience members for this improvisation methodology are classically-trained musicians who share a familiarity with J.S. Bach's music yet believe they have no improvisational creativity of their own.

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Baek, Jung Jin. "A Conductor’s Guide to J. S. Bach’s Quinquagesima Cantatas." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337101464.

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Dube, Michelle Claire. "Prelude of Suite V for cello solo by J. S. Bach: Options for performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.

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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, significant and pertinent information can be gained from this manuscript. Chords, intervals, differing sequence patterns, and differing pitches are all evident when comparing the lute version with the manuscript copies. Many of the added notes from the lute version are playable on the cello and add to the resulting harmony. These playable notes are included in the Appendix in the author's own edition of the Prelude to Suite V based upon the lute score. While a cellist may not choose to follow the lute score, many questions stemming from the variances found in the manuscript copies can be made clearer. The Prelude to Suite V was written in the French overture form. There is much controversy as to the manner in which a French overture should be performed. Thus, the performance practice of the French overture style is discussed and presented. Proponents of the style feel it pertained to music of the Baroque period, irregardless if it was written by a French composer, while others feel that no such style existed and there was no basis to include Bach's music in the use of the French overture style. Both sides of the French overture style are presented and related to the performance, specifically, to the Prelude of Suite V for cello solo.

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Mitchell, Heather. "A Reconsideration of the Performance of the Chorales in J.S. Bach's Passio Secundum Johannem, BWV 245 and the Influence of Harmonic Language and Baroque Affekt on Modern Performance Practices." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596096.

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This document examines the performance practices of the chorales in Johann Sebastian Bach's (1685-1750) Passio secundum Johannem, BWV 245. While many modern-day scholars and performers believe that the congregation sang the Passion chorales and therefore perform them in an accordingly straightforward and homogenous manner, my involvement with this work has led me to consider other possibilities of performance. I am convinced by the evidence in the Ordnungen und Gesetze der Schola Thomana (Regulations and Legislations of the Thomas School), the evidence presented by three renowned Bach scholars, and the evidence of Bach’s music, that the congregation would not have sung the chorales of the Passion. Having scrutinized the musical language and text that Bach deliberately and thoughtfully laid out, I see the possibility for a more dramatic and contextualized approach to these chorales, something the congregation would not and could not have achieved. Because there is almost no published scholarship regarding the performance practice of Passion chorales, there is a need for a study of this nature. My goal is to provide conductors and performers with a historically-informed option to present Bach's chorales in a manner that reflects the drama of the Passion story. I will demonstrate that conductors should consider factors such as harmonic language, textual interpretation, and placement within the broader Passion narrative when making interpretive performance decisions for each of the twelve chorales.

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Liao, Wei-Chun. "A Study of Musical Rhetoric in J. S. Bach's Organ Fugues BWV 546, 552.2, 577, and 582." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427983542.

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Pierce, Stephen R. "An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions of Works by J. S. Bach." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1322052457.

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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 Hora
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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
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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Nilsson, Alice. "J.S Bach Partita no. 2 : Min tolkning och interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3589.

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Borisavljevic, Danica. "Piano recital consisting of works by J. S. Bach, L. Van Beethoven and F. Chopin with extended program notes." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1735.

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Books on the topic "Bach, J.S./music"

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Guillard, Georges. J.-S. Bach et l'orgue. Paris: Presses universitaires de France, 1987.

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A, Leaver Robin, ed. J. S. Bach's "Leipzig" chorale preludes: Music, text, theology. Lanham, Md: Scarecrow Press, 2011.

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Tonal allegory in the vocal music of J. S. Bach. Berkeley: University of California Press, 1991.

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Chafe, Eric. Tonal allegory in the vocal music of J. S. Bach. Berkeley, Calif: University of California Press, 1991.

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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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A woman's voice in baroque music: Mariane von Ziegler and J. S. Bach. Aldershot, Hampshire, England: Ashgate, 2008.

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La musica come conoscenza: Lettura del 3o Concerto brandeburghese di J. S. Bach. Milano: EGEA, 1999.

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Spranzi, Aldo. La musica come conoscenza: Lettura del 3. Concerto brandeburghese di J. S. Bach. Milano: EGEA, 1999.

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Bahe liu shou jian pan zu qu: Yan jiu yu quan shi = J. S. Bach : sechs Partiten BWV 825-830 : analyse und Interpretation. [Taibei Shi]: Lin Qiuzi, 2001.

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J. S. Bach's Johannine theology: The St. John passion and the cantatas for spring 1725. New York: Oxford University Press, 2011.

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Book chapters on the topic "Bach, J.S./music"

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Fanselau, Clemens. "Latente Mehrstimmigkeit als Moment des Individualstils bei J. S. Bach." In Individualität in der Musik, 129–54. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02839-6_7.

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Brandstätter, Ursula. "Hans Heinrich Eggebrechts Deutung der »Kunst der Fuge« von J. S. Bach." In Musik im Spiegel der Sprache, 163–79. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-04460-0_10.

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Dudeque, Norton. "The homage to J. S. Bach and elements of stylization." In Heitor Villa-Lobos's Bachianas Brasileiras, 36–95. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429323874-3.

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Honerkamp, Josef. "Über einen Aspekt der Schönheit bei physikalischen Theorien und Inventionen von J. S. Bach." In Was können wir wissen?, 273–77. Heidelberg: Spektrum Akademischer Verlag, 2013. http://dx.doi.org/10.1007/978-3-8274-3052-6_34.

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Yearsley, David. "The organ music of J. S. Bach." In The Cambridge Companion to the Organ, 236–49. Cambridge University Press, 1999. http://dx.doi.org/10.1017/ccol9780521573092.017.

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"BWV 943, BWV 957, BWV 1027a and 1039a, BWV 1029.iii, BWV 1079.ii, BWV 1085." In The Organ Music of J. S. Bach, 536–40. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511481871.018.

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"Preface." In The Organ Music of J. S. Bach, vii—viii. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511481871.001.

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"BWV 131a Fugue in G minor." In The Organ Music of J. S. Bach, 1. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511481871.002.

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"BWV 525–530 Six Sonatas." In The Organ Music of J. S. Bach, 2–36. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511481871.003.

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"Preludes and Fugues (Praeludia) BWV 531–552." In The Organ Music of J. S. Bach, 37–140. Cambridge University Press, 2003. http://dx.doi.org/10.1017/cbo9780511481871.004.

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Conference papers on the topic "Bach, J.S./music"

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Bulancea, Gabriel. "HARMONIC FORESHADOWS IN J. S. BACH�S CREATION." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s22.025.

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