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Dissertations / Theses on the topic 'Bach, Johann Sebastian, Music'

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Published: 4 June 2021

Last updated: 15 February 2022

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1

Cho, Yoonju. "A study of Baroque tempo practices and their applications to the Violoncello suite no. 2 by Johann Sebastian Bach /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11292.

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2

Peters, Manfred. "Johann Sebastian Bach als Klang-Redner : die Dispositio der römischen Oratorie als Beitrag zum Formverständnis ausgewählter Instrumentalfugen." Saarbrücken Pfau, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=014738632&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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3

Kao, Shu Phyllis. "Affective gesture in J.S. Bach's keyboard music with special reference to selected works in D minor /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17313867.

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4

Salmen, Rebecca L. "Performance practice and analysis of Johann Sabastian Bach's Aria for tenor and flute obbligato, Wo wird in diesem Jammertale, from Cantata BWV 114." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/827.

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5

Cole, Warwick. "The performance of small-note VorschlaÌˆge in the keyboard and chamber music of J.S. Bach". Thesis, Birmingham City University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248605.

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This study is concerned with conventions of notation and of performance in the music of Johann Sebastian Bach. The small-note Vorschlag represents one of the most puzzling and least understood aspects of western musical notation during the period under discussion. Although the issue has been examined extensively in the past. the lack of consensus among scholars and performers - coupled with Bach's copious use of the small-note Vorschlag - indicates that a reassessment is warranted. The aim is to arrive at an understanding of Bach's notation of the Vorschlag and its implications for informed performance of his music. Initially, the study places Bach's notation within the context of contemporary practice. An examination of the composer's awareness of French and German music reveals that both anticipatory and 'on-beat' resolutions of the ornament were current during Bach's professional life. A relationship between differing resolutions and notation is identified - 'schematic' notation - in the music of Dieupart, Walther, Telemann and Muffat where contrasted sigla are employed to indicate the metrical placement of the ornament. Additionally, Bach's custom of using the Vorschlag in both written-out and small-note forms is investigated. The core of the study is contained in a series of case-studies. Following a broadly chronological sequence, these case-studies examine in detail Bach's use of differing notational forms for the Vorschlag. Through the application of comparative analytical methods, the extent to which Bach's practice reflects that of his contemporaries is assessed, and how far the evidence permits judgement as to Bach's intended resolution of the ornament.The final chapter provides a synthesis of the findings of the study. In so far as they may be determined, the conventions of performance current in Bach's music are defined. From this, it emerges that there is a loose correlation between notation and metrical placement. The study concludes by considering the implications of how this observation impacts on an understanding of Bach's ornamental style, in particular his assimilation of new stylistic currents in the last two decades of his life.

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6

Morton, Wyant. "Questions of authenticity in three motets attributed to Johann Sebastian Bach." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185862.

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The motets Der Gerechte kommt um, Jauchzet dem Herrn alle Welt and Ich lasse dich nicht have figured prominently in the ongoing discussion regarding the authentic and spurious motets of Johann Sebastian Bach. While the high musical quality of these compositions has long been recognized, disagreement over their authorship has continued because of the complexity of their source transmission. Evaluation of previous scholarship in light of recent investigations into the source transmission of these pieces suggests that all three works were, indeed, the handiwork of J. S. Bach. In support of this premise, a look at stylistic evidence derived from these pieces and selected cantatas and motets by J. S. Bach makes clear that an attribution to J. S. Bach is in the realm of very high possibility.

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7

Huron, D. "Voice segregation in selected polyphonic keyboard works by Johann Sebastian Bach." Thesis, University of Nottingham, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234610.

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8

Ko, Ching-Tzy. "Dynamic markings in Bach cello suites /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11427.

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9

Harris, Raymond Stanley. "Scripture in song J.S. Bach's exegesis of Matthew 26 and 27 in the S̲t̲.̲ M̲a̲t̲t̲h̲e̲w̲ P̲a̲s̲s̲i̲o̲n̲ /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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10

Cosma, Viorel. "Enescus Interpretation der Musik von Johann Sebastian Bach." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38304.

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11

Burdick, Adam David. "The influence of French Baroque dance on the cantatas of Johann Sebastian Bach /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11389.

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12

Abravaya, Ido. "On Bach's rhythm and tempo /." Kassel [u.a.] : Bärenreiter, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014918243&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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13

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 /." connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/perez%5Ftorres%5Frene/index.htm.

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14

Todd, Richard. "The sarabandes from J.S. Bach's Six suites for solo cello an analysis and interpretive guide for the modern guitarist /." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3606.

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Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Oct. 25, 2004, Feb. 14, 2005, Apr. 25, 2005, and Nov. 30, 2006. Includes bibliographical references (p. 56-57).

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15

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

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16

Mariottini, Filippo. "The Passacaglia by Johann Sebastian Bach Interpretation perspectives : How the Bach score can lead to such different musical results." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2874.

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17

Appelgren, Herman. "Bach: Cellosvit No. 5 : ur en trombonists perspektiv." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2055.

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Detta arbete handlar om första satsen ur Johann Sebastian Bachs Cellosvit no. 5 (BWV 1011), skrivet ur en trombonists perspektiv. Arbetet behandlar främst vad man måste ta hänsyn till om man ska anpassa stycket för framförande på trombon, samt skillnader mellan olika utgåvor och jämförelse av dessa mot urtexten. Bifogat med det tryckta exemplaret finns även en inspelning av mitt framförande av stycket på min examenskonsert den 11 maj 2016.

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18

Gingrich, M. Linda. "The seen and the unseen : hidden allegorical links in the Trinity season chorale cantatas of J.S. Bach /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/11237.

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19

Wampler, Stephen G. "A brass players' guide to the transcription and performance of J.S. Bach /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11393.

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20

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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21

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 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<br>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<br>Doutorado<br>Fundamentos Teoricos<br>Doutora em Música

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22

Hickenlooper, Benjamin A. "The philosophy of church music in German Lutheranism from Luther to Bach and its impact on vital worship." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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23

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 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

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24

Norrback, Johan. "A passable and good temperament : a new methodology for studying tuning and temperament in organ music /." Göteborg : Göteborgs Universitet, 2002. http://catalogue.bnf.fr/ark:/12148/cb39000198f.

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25

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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26

Wible, Heather N. "More than Mozart." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/828.

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27

Traves, Edward J. "Fugal form in book I of J.S. Bach's Das wohltemperirte Clavier." Thesis, Boston University, 1991. https://hdl.handle.net/2144/37170.

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Thesis (M.A.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>Most academic discussions of fugue either seek to find a single unifying formal principle for all fugues, or deny the existence of commonly occurring form-types in the vast repertory of fugal compositions. In the absence of any definitive theory of fugal form, fugal analysis tends to concentrate on details of contrapuntal procedure, with considerably less emphasis given to formal aspects. This study will focus on the overall form of the fugues in the first book of Das wohltemperirte Clavier. I have proceeded under the assumption that the form of fugal compositions is articulated in essentially the same manner as holds for other genres, and that these formal structures can be ascertained with minimal reference to the technicalitles of fugal and contrapuntal procedure. By this method, it will be found that most of the fugues of WTC I are relatively simple bipartite or tripartite structures, and that there are many structural similarities between them. My investigation of WTC I reveals that the bipartite fugues outnumber the tripartite fugues by more than three to one, possibly as a result of Bach's extensive experience with the composition of stylized suites and dances between 1715 and 1723. Correspondences between the bipartite fugues and binary dance forms are clearly evident. In view of the considerable number of shared formal characteristics and methods of articulation displayed by the fugues of WTC I, it seems evident that Bach composed them with a clear formal plan in mind and that he often desired an effective delineation of the various formal divisions to aid the listener's perception and understanding of this music.<br>2031-01-01

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28

Diederichs, Barbara. "Musik als Generationsprinzip von Literatur eine Analyse am Beispiel von Thomas Bernhards Untergeher /." [S.l. : s.n.], 1999. http://deposit.ddb.de/cgi-bin/dokserv?idn=960426744.

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29

Clement, Arie Albertus. "O Jesu, du edle Gabe Studien zum Verhältnis von Text und Musik in den Choralpartiten und den kanonischen Veränderungen von Johann Sebastian Bach = een onderzoek naar de relatie tussen tekst en muziek in de koraalpartita's en kanonische variaties van Johann Sebastian Bach /." Utrecht : OMI-Grafisch Bedrijf, 1989. http://books.google.com/books?id=4ZY_AAAAMAAJ.

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30

Hahn, Stephen (Stephen Ernst). "Continuous Harmonic Structure in J.S. Bach's Triple Fugues in The Well-Tempered Clavier and Art of Fugue." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538652/.

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This thesis explores how the harmonic structures of J.S. Bach's triple fugues interact with their formal, contrapuntal designs. It attempts to explain how each of these elaborate fugues is supported by a single, uninterrupted structure that holds the entire work together. In Bach's fugues one generally encounters large-scale goal-directed motion towards the concluding tonic; this continuous harmonic motion towards the final tonic is consistent with the aesthetics of the Baroque style, which valorizes constant motion or dynamism.

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31

Kreutzfeldt, Hannah L. "Interpreting Bach: Sonata No. 3 in C Major For Solo Violin." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1405364000.

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32

Riethmüller, Albrecht. "Bachs Musik als Busonis Gegenwart. Die Formel ”Bach-Busoni” und die Idee der Bearbeitung." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37259.

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33

Marckx, Leslie Hirt. "French Baroque influences on Johann Sebastian Bach's Six suites for violoncello solo : with an emphasis on French court dance and Suite V /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11220.

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34

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 scolastiques<br>A 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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35

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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Youngerman, Irit. "J.S. Bach's Suite in C Major for violoncello solo an analysis through application of a historical approach /." Cincinnati, Ohio : University of Cincinnati, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1037899165.

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Clement, Albert. "Musik und Text im Orgelwerk von Johann Sebastian Bach. Das Beispiel von BWV 678 und 679." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37108.

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Anderson, Christopher. "'Er spielt nicht Bach, sondern Reger in Bachschen Noten'." Georg Olms Verlag, 2014. https://slub.qucosa.de/id/qucosa%3A7840.

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Einarsdottir, Sigrun Lilja. "J.S. Bach in everyday life : the 'choral identity' of an amateur 'art music' Bach choir and the concept of 'choral capital'." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4022.

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This thesis presents research on an amateur composer-oriented Bach choir. Its main purpose is to study the development of musical identities and musical preferences of choir members as they take shape through the collective learning process of rehearsing and performing large-scale choral music. The study analyses how the choral participation and performance creates a certain type of ‘choral capital’ (a combination of social and cultural capital within the choral setting) and how the choristers reconstruct and relate to the composer (J.S. Bach) by creating ‘choral identities’ linked to the composer-orientation of their choir. This study is based on an interdisciplinary approach, seeking concepts and ideas from different fields of study – primarily sociology and music sociology (music in everyday life and the concepts of social and cultural capital in the amateur choral setting) but also music psychology regarding concepts of musical and vocal identities, history of music (especially Bach scholars, previous biographical writings about J.S. Bach), music and education (choral singing as informal music education) and interdisciplinary studies on music, health and well-being. The methodological approach of this research consists of a grounded theory based, single case study where the case was the Croydon Bach Choir in London performing J.S. Bach’s Mass in B Minor, using participant observation (where I sang with the choir for one semester) and qualitative interviews as main research methods and gathering demographic background data on choir members via paper-based survey. Whereas significant research on music performances has been conducted, so far choral research, where the direct participation of the researcher as a member of the choir is used as one of the main research methods, is still quite rare. Results indicate that participants develop socio-musical identity both through their choral participation in general, performance experiences and early music consumption in the family household and the emphasis of the importance of choral singing as a fulfilment instead of pursuing a professional career. Through choral singing, participants developed ‘choral capital’ through a) the effects of collective learning on their musical taste and preferences (thus broadening their musical taste and preferences and reconstructing the composer) and b) the well-being factor of collective singing and communal learning through the process of rehearsing and performing the Mass in B Minor. Furthermore, findings indicated that participants construct Bach as a genius and a devout Lutheran, an image that relates to the romantic image of Bach presented in the late 19th – early 20th century biographical writings on the composer. Thus in general, their choral activities form a valuable addition to their social and cultural capital (´choral capital´), which they use as a source of well-being in everyday life. In addition, participants create a certain ‘choral identity’ by relating to the composer-orientation of their choir; the promotional label of Bach as a synonym for quality choral singing and the emphasis of challenging repertoire.

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Reininghaus, Frieder. "J.S. Bach und die Arbeit. Kleines Praeludium über einige Folgen der ”arbeitsamen Musik”." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37244.

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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 baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.

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Åberg, David. "Ett femte evangelium : Med Bachs kyrkokantater i det 21:a århundradet." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3951.

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Johann Sebastian Bachs kantater för kyrkoåret skrevs i en annan tid, de har ett annat språk, både skriftligt och textligt, än vad kanske dagens gudstjänstbesökare är vana vid. För att göra dessa mästerverk relevanta idag behövs, tror jag, en varsam redigering. I och med det här arbetet önskar jag skapa en fungerande form där Bachs musik blir en naturlig del av det liturgiska flödet. De kriterier jag velat uppfylla för kantaterna är följande: · Texten ska vara på svenska. För Luther och Bach var det en självklarhet att det skulle vara på folkspråket · Orkestern ska inte vara för stor, det ska vara görbart ekonomiskt. Stråkar plus ytterligare ett eller två instrument · Endast en solist per söndag · Kantatens satser ska spridas ut över gudstjänsten. Hos Bach delades den endast upp i två delar · Koralmelodierna som används ska finnas i vår psalmbok. För att (som jag tidigare skrev) koralerna ska fungera som mänsklighetens (eller församlingens) röst, bör det vara melodier man känner till · Det får inte bli för långt (gudstjänsten ska inte vara mycket längre än en normal gudstjänst med körmedverkan) Sammanfattningsvis är alltså min frågeställning följande ”Finns det fortfarande plats för Johann Sebastian, hans musik och hans teologiska arv i det svenskkyrkliga gudstjänstlivet”? Min förhoppning är att Bachs, enligt min åsikt, tidlösa musik i allmänhet och hans kantater i synnerhet ska rymmas i vår kyrkas stora musikaliska arv, att musiken ska beröra människor och förändra deras liv på sätt som exempelvis sångerna från kommuniteten i Taizé och lovsångsrörelsens musik gör och har gjort. Svenska kyrkan är och ska vara en folkkyrka med breda och många teologiska och musikaliska influenser och traditioner. Utifrån kriterierna ovan skapas fyra kantater, för Första advent, Fastlagssöndagen, Påskdagen och Tacksägelsedagen.

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Murphy, Eliana Maria. "An Analytical Comparison of the Variation Movement from Ludwig van Beethoven's Piano Sonata in E Major, Op. 109 to Johann Sebastian Bach's Aria mit verschiedenen Veranderungen, BWV 988 ("Goldberg Variations")." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377870823.

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44

Ericsson, Lena Weman. ""...världens skridskotystnad före Bach" : historiskt informerad uppförandepraxis ur ett kontextuellt musikontologiskt perspektiv, belyst genom en fallstudie av Sonat i E-dur, BWV 1035, av J S Bach." Doctoral thesis, Luleå tekniska universitet, Musik och dans, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26656.

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The aim of the present study is to explore the so-called historically informed performance movement, which also is my own musical performance tradition, from a general perspective grounded in musical philosophy. The discussions concerning this performance tradition have been dominated by different subjects, such as musical works, authenticity, intention and interpretation. The study focuses on Western art music where the performance of the music, the sounding realisation, of a notated work is central. Therefore, the performance in connection with the abovementioned subjects is of prime interest. This more overarching theme gave rise to the following questions: What factors can be considered decisive for whether a performance is a historically informed performance or not? How can these factors be identified? Does this mean that there are instructions in the music that I, as a musician, must obey? What does my artistic freedom look like? Where can I find it? The path to tentative answers to these questions is taken via theoretical discussions and the application of the theory in method and analyses as well as in interpretation.The theoretical perspective of the study is based on contextual musical ontology. The scientific theoretical framework, emanating from this ontology, is formulated in the field of social constructionism.The performance can, through this perspective, be identified as an indispensable part of the musical work, which also implies that the notated work itself is not sufficient to identify the work. Further, the emphasis on the context's importance for the performance in order to allow the performance to be of the work in question implies the necessity of awareness of the context of the work. This concept is deepened in the study through the emphasis on the importance for the performance, in a broad perspective, of the historical as well as the contemporary socio-cultural context. For the work itself this means that the identity of the work is unstable, it is constantly changing, since the different performances of the work that are parts of the work can never be identical. The perspective is based on social constructivist theories about knowledge. With contextual musical ontology as a point of departure, a strategy is formulated concerning analysis and investigation of a musical work. This strategy focuses on the notation, the instrumentation, and historical performance conventions. These three parts interact with one another and in the study they are formulated as being inseparable from the performance of the work.The theoretical part of the study is followed by a case study in which a sonata by Johann Sebastian Bach is studied from the articulated theoretical perspective. The case study contains an investigative part and an interpretative part. The work's notation is always in focus in the investigative and descriptive part, with emphasis on the socio-cultural context connected to the notation. Through the sounding interpretations, the different performances, the final chapter results in a summary of the study as a whole.<br>Syftet med föreliggande studie är att studera så kallad historiskt informerad uppförandepraxis, och därmed även min egen musikaliska inriktning, ur ett generellt musikfilosofiskt perspektiv. De olika begrepp och frågeställningar som kan sägas dominera diskussionerna kring denna framförandetradition är verk, autenticitet, intention och interpretation. I fokus för studien befinner sig musik inom den västerländska konstmusiktraditionen inom vilken framförandet av musik, den klingande realiseringen av ett noterat verk, är central. Därför står framförandet, i relation till ovan nämnda begrepp, i fokus. Detta mer övergripande tema leder fram till följande frågeställningar: Vilka faktorer kan betraktas som avgörande för att ett framförande kan betraktas som ett historiskt informerat framförande? Hur kan dessa faktorer identifieras? Innebär det att det finns instruktioner i musiken som jag som musiker måste följa? Hur ser min konstnärliga frihet ut? Var finner jag den? Vägen till tentativa svar på dessa frågor har gått via teoretiska resonemang, och applicering av teorin i såväl metod och analys som interpretation. Studiens teoretiska perspektiv och överbyggnad baseras på kontextuell musikontologi. Det vetenskapsteoretiska ramverket, utifrån denna ontologiska grund, formuleras inom ramen för den socialkonstruktionistiska tanketraditionen. Genom detta perspektiv kan framförandet av verket identifieras som en omistlig del av verket, vilket också innebär att enbart notationen inte är tillräcklig för att definiera verket. Vidare innebär teorins betoning av kontextens betydelse att ett framförande för att vara ett framförande av verket, medvetet måste förhålla sig till verkets kontext. Detta perspektiv fördjupas i studien genom att betona den socio-kulturella kontextens betydelse i ett större perspektiv, såväl den historiska som den nutida, för framförandet. För verket innebär det att dess identitet är föränderlig, då de olika framföranden som är en del av verket inte kan vara identiska. Denna syn baseras på socialkonstruktivistiska teorier om kunskapsbyggande. Med utgångspunkt i kontextuell musikontologi formuleras också en strategi för att analysera och undersöka ett verk utifrån notationen, instrumentationen och uppförandepraktiska konventioner, tre delar av verket som griper in i varandra och som konstateras vara omistliga att förhålla sig till vid ett framförande. Studiens teoretiska del åtföljs av en fallstudie där en sonat av Johann Sebastian Bach studeras utifrån det teoretiska perspektivet. Fallstudien består av en undersökande del och en tillämpande interpretativ del. För den undersökande, och i viss mån deskriptiva delen står verkets notation hela tiden i fokus, med tyngdpunkt på notationens socio-kulturella kontext. Det avslutande kapitlet resulterar, genom de klingande gestaltningarna av sonaten, i en sammanfattning av studien som helhet. Avhandlingens slutkapitel utgörs även av en CD. Den kan beställas genom registrator på Institutionen för musik och medier vid Luleå tekniska universitet. E-post: muh-registrator(at)ltu.se<br>Godkänd; 2008; 20081113 (ysko)

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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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Boomhower, Daniel F. "The Manuscript Transmission of J. S. Bach's Mass in B Minor (BWV 232) and the Development of the Concept of Textual Authority, 1750-1850." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1489155807416477.

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47

Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.<br><p>The exam concert is archived for copyright reasons until 2023.</p>

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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.

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Yoo, Jin Ah. "J.S. Bach's great eighteen chorale preludes arranged according to difficulty." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1813.

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Johann Sebastian Bach used his own organ compositions when teaching his students. Seeking to understand and learn from Bach's organ pedagogy, many scholars have sought to establish a list of Bach's organ works according to difficulty. These arranged lists are briefly summarized in chapter two of the present thesis, and it is shown that none of them have sufficiently explained the rationale for deciding difficulty. Chapter three establishes and describes criteria according to which Bach's organ works can be analyzed. Chapter four demonstrates how these criteria are to be applied within a selected corpus of J.S. Bach's organ works, the Leipzig versions of the Great Eighteen Chorale Preludes. The criteria and resulting arrangement according to difficulty answer a problem within Bach scholarship by providing an objective standard by which teachers and students can select level-appropriate works for purposes of learning and performance.

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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.<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 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.<br>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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