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Relevant bibliographies by topics / Bach, Johann Sebastian, 1685-1750. Organ music / Dissertations / Theses

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Dissertations / Theses on the topic 'Bach, Johann Sebastian, 1685-1750. Organ music'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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 designatio

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2

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, becaus

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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,

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4

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 beginni

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5

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<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T02:53:23Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_D.pdf: 3770115 bytes, checksum: 6eb29bd8ac1ceaed915ae65400aadb14 (MD5) Previous issue date: 2013<br>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

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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<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

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7

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

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8

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

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9

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.<br>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

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10

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 M

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11

Todd, Richard. "The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3606/.

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The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that

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12

Chang, Chul Woong. "A Guide to Suitable Bass Solo Vocal Repertoire by J. S. Bach for Collegiate Baritone." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011800/.

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In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged bar

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13

Corten, Walter. "Le nombre dans l'oeuvre de Bach: mythes, hypothèses et réalités." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213115.

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14

Charlier, Claude E. M. "Polythématisme et structure formelle dans l'art de la fugue." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213116.

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15

Jilek, Dwight. "Sven-David Sandström's Matthäuspassion: Examining J.S. Bach's Influence and Sandström's Compositional Language, Use of Symbolism, and Religious and Spiritual Motivations." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862768/.

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Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) e

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16

Sulaiman, Samaa. "Les pianistes et le répertoire du baroque tardif pour clavier : réflexion sur un corpus d’interprétations discographiques (J.S.Bach, Rameau, D.Scarlatti)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20058/document.

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Le vingtième siècle a vu la montée du mouvement de renouveau de l’interprétation de la musique ancienne, notamment celle de la période baroque, appuyé sur une forme de socle théorique. La mise à jour et l’étude des textes contemporains a fourni un ensemble d’éléments permettant de construire des exécutions obéissant à des normes qui rompaient avec l’héritage du dix-neuvième siècle. La démarche appliquée aux modalités d’élocution de la musique s’est accompagnée d’un travail de restauration et de remise en service de l’instrumentarium ancien, qui est devenu un élément central de la pratique mode

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17

Dykstra, Ruth Elaine. "Possible orchestral tendencies in registering Johann Sebastian Bach's organ music : an historical perspective /." Thesis, 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3128859.

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18

Dykstra, Ruth Elaine 1945. "Possible orchestral tendencies in registering Johann Sebastian Bach's organ music : an historical perspective." 2004. http://hdl.handle.net/2152/12930.

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19

Van, Wyk Theodore Justin. "A comparative study of registration practices in selected organ works of Johann Sebastian Bach (1685-1750) based on recordings made by Marie-Claire Alain and Jacques van Oortmerssen." Diss., 2001. http://hdl.handle.net/2263/25010.

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20

Waters, Melville. "The Lutheran orthodoxy of J.S. Bach's Clavierübung III." 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09mumw331.pdf.

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21

"An interpretation of Johann Sebastian Bach's St. John passion: a study of the possible messages in the arrangements." 2011. http://library.cuhk.edu.hk/record=b5894603.

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Poon Ching Hang, Amos.<br>Thesis (M.Div.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 47-48).<br>Abstracts in English and Chinese.<br>Abstract --- p.ii<br>Acknowledgement --- p.V<br>Chapter Chapter 1: --- Introduction --- p.1<br>Chapter Chapter 2: --- Background of St. John Passion --- p.3<br>Chapter Chapter 3: --- The Analytical Methodology --- p.6<br>Historical Perspective --- p.6<br>Structural Aspect --- p.11<br>Musical Perspective --- p.13<br>Textual Aspect --- p.15<br>Chapter Chapter 4: --- The Possible Messages in St. Tohn Passion ---

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22

Carruthers, Glen Blaine. "Bach and the piano: editions, arrangements and transcriptions from Czerny to Rachmaninov." Thesis, 1986. http://hdl.handle.net/1828/5412.

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23

Raley, Matthew. "Abstraction in J. S. Bach's "Chaconne": A Model for Reconciling Artist and Audience Today." Diss., 2017. http://hdl.handle.net/10392/5329.

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Modernist accounts of artistic integrity often required artists to alienate audiences. In some senses, the relationship between artists and audiences never recovered, and arts organizations today struggle to overcome the hostility. The alienation had roots in two applications of Hegelian philosophy. First, modernists viewed bourgeois audiences as needing a new consciousness of their place in history. Second, artists could only bring this consciousness about by posing an antithesis to bourgeois culture, accomplished by abstraction, or removal from established aesthetic norms. In music and paint

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24

Muller, Stephanus. "An interpretative analysis of the Capriccio in B flat major, BWV 992, by J.S. Bach, with specific reference to comparative interpretations on the clavichord, harpsichord and piano." Diss., 1997. http://hdl.handle.net/10500/17540.

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The hypothesis of this study entails the formulation of interpretative solutions for J. S. Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title, strives to provide a synthesis in which the cognitive understanding of the music can contribute to a more informed aesthetic interpretation of the music. In the ensuing study this objective is realised by examining the origin of the work and the sources from which it was handed down, the style in which the Capriccio was composed and conceived, the performance practices prevalent in the early eighteenth century a

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