Relevant bibliographies by topics / Cantatas (Bach, Johann Sebastian)

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Cantatas (Bach, Johann Sebastian)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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Journal articles on the topic "Cantatas (Bach, Johann Sebastian)"

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Vroegindeweij, Lydia. "Comfort in Luther and Bach. A Study of the Comforting Value of Martin Luther’s Church Songs and Interpretation of Comfort in the Choral Cantatas of Johann Sebastian Bach." Yearbook for Ritual and Liturgical Studies 37 (December 31, 2021): 61–68. http://dx.doi.org/10.21827/yrls.37.61-68.

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Summary of the dissertation "Comfort in Luther and Bach. A Study of the Comforting Value of Martin Luther’s Church Songs and Interpretation of Comfort in the Choral Cantatas of Johann Sebastian Bach".
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Kristanto, Billy. "Exil und religiöse Identität in einigen Kantaten von Johann Sebastian Bach." European Journal of Theology 29, no. 2 (September 1, 2020): 201–20. http://dx.doi.org/10.5117/ejt2020.2.006.kris.

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Summary This article examines nine sacred cantatas by Johann Sebastian Bach which address the subject of exile and religious identity. The biblical or general theological background of the text of each selected cantata, as well as the way in which Bach set the text to music, is discussed. We can learn from Bach that, first, there should be a legitimate space to express fear and insecurity about the arrival of foreigners. Second, believers who are in exile can associate their Christian identity with the life of Jesus while inviting unbelievers to find their identity in Jesus. Third, both suffering and hospitality are true features of Christian discipleship. Fourth, Bach’s interpretation of exile as a divine punishment is not the final message. The motif of exile as punishment is transformed by a Christological interpretation. Finally, the end of exile can be celebrated. In exile, believers dare to hope and to believe; at the end of the exile, believers celebrate without forgetting their past suffering. Both testify to a sound religious identity.
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Johnston, Gregory S., and Christoph Wolff. "The World of the Bach Cantatas. Vol. 1: Johann Sebastian Bach's Early Sacred Cantatas." Notes 56, no. 2 (December 1999): 401. http://dx.doi.org/10.2307/900017.

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Kovács, Krisztián. "Christ lag in Todesbanden. Egy korál útja a középkortól Luther Mártonon át Johann Sebastian Bachig." Studia Universitatis Babeș-Bolyai Theologia Reformata Transylvanica 66, no. 1 (June 30, 2021): 163–88. http://dx.doi.org/10.24193/subbtref.66.1.09.

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"Christ lag in Todesbanden (Christ Lay in the Bonds of Death). A Chorale’s Journey from the Middle Ages through Martin Luther to Johann Sebastian Bach. One of the focal points of Martin Luther’s work as a reformer can still be discovered in his compositions. He wrote several lyrics in which he formulated essential dogmatic insights. These include the Easter song Christ lag in Todesbanden [Christ Lay in the Bonds of Death] based on the mediaeval Gregorian chant Victimae paschali laudes and its later version Christ ist erstanden, in which not only the joy over Easter and the resurrection of Christ can be found, but it also gives a picture of the reformer’s theological insights into the death of death and sin. After nearly two hundred years, Johann Sebastian Bach processes all seven verses of Luther’s song in his cantata of the same title (BWV 4), shortly after the death of his first wife. The Lutheran hymn of the resurrection will thus become a personal creed, an ars poetica, but at the same time we can find an exciting musical representation of Luther’s theological view of death in Bach’s composition. Keywords: Martin Luther, Johann Sebastian Bach, Protestant choir, death, resurrection "
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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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Varwig, Bettina. "Heartfelt Musicking." Representations 143, no. 1 (2018): 36–62. http://dx.doi.org/10.1525/rep.2018.143.1.36.

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This essay proposes a somatic archaeology of German Lutheran music making around 1700. Focusing on a single cantata by Johann Sebastian Bach, it sets out to reconstruct the capacities of early modern body-souls for musical reverberation, affective contagion, and spiritual transformation.
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Luth, Jan R. "Troost in de cantates van Johann Sebastian Bach (1685-1750): Een verkenning." NTT Journal for Theology and the Study of Religion 68, no. 1 (February 18, 2014): 67–82. http://dx.doi.org/10.5117/ntt2014.68.067.luth.

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Tot op heden is nog geen onderzoek gedaan naar de manier waarop het begrip “troost” wordt gebruikt in de cantates van Johann Sebastian Bach (1685-1750). Dit artikel is de neerslag van een verkennend onderzoek naar de betekenis van “troost” in samenhang met dood en sterven. Omdat Bach in een traditie stond waarin de tekst met muzikale middelen werd uitgelegd, wordt ook onderzocht op welke manier hij dit woord muzikaal behandelt. Het woord “troost” komt vaak in vocaal-instrumentale werken van Bach voor, maar meestal niet in samenhang met de dood. Daarnaast zijn er cantates die troost willen bieden, zonder dat dit woord wordt gebruikt. Specifiek in verband met de dood komt het woord “troost” in negentien cantates voor. Troost in verband met dood en sterven heeft verschillende betekenissen en bestaat in ieder geval uit het geloof en de zekerheid dat de gelovige het hemelse paradijs zal bereiken, waar hij in de armen van Jezus is. Daarnaast bestaat troost uit het weten dat de dood een slaap is en dat God in dood en sterven van het verderf redt. We zien hier motieven die ook voorkomen in verschillende werken die deel uitmaakten van Bachs theologische bibliotheek. Een voorbeeld zijn de publicaties van de theoloog Heinrich Müller (1631-1675), waarin een sterk verlangen naar voren komt om bij Jezus te zijn, zo sterk, dat het sterven zelf als troost wordt gezien.
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Koch, Ernst. "Die Stimme des Heiligen Geistes." Bach-Jahrbuch 81 (February 2, 2018): 61–81. http://dx.doi.org/10.13141/bjb.v19951056.

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Bei der Zuschreibung der Solostimmen zu bestimmten geistlichen Texten hat Johann Sebastian Bach sich nicht einfach nach Gesichtspunkten der Praxis gerichtet. In Weiterführung bisheriger Forschungen und ihrer Korrektur wird zu zeigen versucht, daß die Texte der solistischen Altpartien im 'Weihnachts-Oratorium', in der 'Matthäuspassion' und in verschiedenen geistlichen Kantaten das 12. Kapitel aus Heinrich Müllers Buch 'Göttliche Liebes-Flamme' (1677) zur theologischen Grundlage haben, das zu Bachs Bibliothek gehört hat. Gleichzeitig beruht die von Bach vorgenommene Stimmenzuweisung auf einer 1624 veröffentlichten Predigt Johann Sauberts zum Sonntag Cantate, in der er ausführlich darlegt, mit welchem Sinn die vier Singstimmen bedacht werden sollen. (Autor, gekürzt, Quelle: Bibliographie des Musikschrifttums online)
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Wolff, Christoph. "Faksimile-Ausgaben." Bach-Jahrbuch 74 (May 9, 2018): 237–39. http://dx.doi.org/10.13141/bjb.v19882596.

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Besprochen: Bach, Johann Sebastian: Messe A-Dur BWV 234 (Autographe Partitur und Continuo-Stimme). Einführung von Oswald Bill und Klaus Häfner. Wiesbaden 1985 ders.: Magnificat BWV 243. Autograph. Hg.: Hans-Joachim Schulze. Leipzig 1985 ders.: Cantata Autographs [...] Hg.: Robert L. Marshall. New York, London 1985 ders.: Seine Handschrift - Abbild seines Schaffens. Eingeleitet und erläutert von Alfred Dürr. Wiesbaden 1984
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Кириллина, Л. В. "Bach, revealed and unfathomable Review of the book: Гардинер Дж. Э. Музыка в Небесном Граде: Портрет Иоганна Себастьяна Баха / Пер. с англ. Р. Насонова и А. Андрушкевич. М.: Rosebud Publishing, 2019. 928 c." Журнал Общества теории музыки, no. 2(26) (June 3, 2019): 67–73. http://dx.doi.org/10.26176/otmroo.2019.26.2.006.

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Основное значение фундаментальной книги «Музыка в Небесном Граде: Портрет Иоганна Себастьяна Баха» Дж. Э. Гардинера, выдающегося интерпретатора старинной музыки, видится в формировании нового взгляда на личность и творчество И. С. Баха. Этот взгляд учитывает прежние концепции (в том числе концепцию А. Швейцера, в которой Бах представлен музыкальным ритором и богословом), но акцентирует другие аспекты в самоопределении композитора: амбициозность Баха, связанную с последовательным воплощением взятой им на себя религиозной миссии. Концепция Гардинера, окрашенная в нескрываемо субъективные тона, разворачивается на богатейшем историческом и музыкальном материале, сконцентрированном вокруг баховских церковных кантат. Перевод этой книги на русский язык — важное событие в отечественном музыковедении. The main significance of the fundamental book ‘Music in the Heaven’s Castle. A Portrait of Johann Sebastian Bach’ by J. E. Gardiner, an outstanding interpreter of early music, seems to be in the presentation of a new view on the personality and work of J. S. Bach. This view takes into account some previous concepts (including the concept of A. Schweitzer, in which Bach is represented as musical rhetorician and theologian), but emphasizes other moments in the self-determination of the composer: Bach's creative ambition, associated with the consistent implementation of his religious mission. Gardiner's concept, painted in undisguised subjective tones, unfolds on the richest historical and musical material concentrated around Bach's church cantatas. The translation of this book into Russian is an important event in Russian musicology.
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Dissertations / Theses on the topic "Cantatas (Bach, Johann Sebastian)"

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Watson, Marva J. "The Historical Figures of the Birthday Cantatas of Johann Sebastian Bach." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/157.

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Johann Sebastian Bach is credited with writing over 300 cantatas. Sacred cantatas comprise most of that repertory, but there are just under forty known secular cantatas composed by Bach. About half of these secular cantatas were written to celebrate a person’s birthday. This thesis will attempt to provide a view of the life of the historical figures for which the birthday cantatas were written, reflections of the personality of the individual in the cantata, Bach’s relationship to the recipient, and political or social connotations associated with the work. From a study of the individuals connected with the musical work, a more thorough understanding of the time period in which Bach lived and worked may be gained. This in turn will provide a more complete understanding of Bach’s birthday cantatas. This thesis will not address recipients of name day cantatas nor will it address recipients of birthday cantatas that were not fully preserved. These are the historical figures and works that will be examined: Duke Christian of Saxe-Weißenfels, including references to Dukes Wilhelm Ernst and Ernst August of Saxe-Weimar, Was mir behagt, ist nur die muntre Jagd, BWV 208; Prince Leopold of Anhalt-Köthen, Durchlauchtster Leopold, BWV 173a; Crown Prince Friedrich Christian of Saxony, Laßt uns sorgen, laßt uns wachen, BWV 213; Maria Joseph, Archduchess of Austria, Electress of Saxony, Queen of Poland, Tönet, ihr Pauken! Erschallet, Trompeten, BWV 214; and Augustus III, Elector of Saxony, King of Poland Schleicht, spielende Wellen, BWV 206.
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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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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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Justi, Katia Regina Kato. "O Oboe e a representação da Confiança nas arias das cantatas sacras de J.S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284316.

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Orientador: Helena Jank
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5) Previous issue date: 2007
Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundamentos e sua grande influência na música. Procuramos fazer, nos diversos períodos da vida de Bach, um levantamento de todas as árias compostas para oboé, com especial ênfase nas árias compostas para um instrumento obbligato. Avaliamos também a grande importância das doutrinas da Musica Poetica e da retórica na vida e no pensamento musical alemão e como essas doutrinas influenciaram as composições de Bach. Finalmente buscamos traçar relações entre os aspectos retórico-musicais e a utilização do oboé obbligato nas árias sacras com os afetos da confiança e do temor
Abstract: This work aims at investigating, from a rhetoric point of view, the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. Treating the different periods of Bach's life, we tried to gather all of his arias composed for the oboe, with special emphasis in the arias composed for an obbligato instrument. We also evaluated the great importance of the doctrines of Musica Poetica and of life rhetorics to the musical German thought. We also evaluated how these doctrines influenced Bach's compositions. Finally, we tried to trace the relationships between the rethorical musical aspects and the use of the obbligato oboe in the sacred arias with the affects of trust and fear
Mestrado
Mestre em Música
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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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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
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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Park, Chungwon. "CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194278.

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As the core of virtually all vocal and instrumental composition in the Baroque music, the basso continuo group had an extremely important role in the sacred cantatas by Johann Sebastian Bach (1685-1750). During the Baroque period, the choice of instruments was sometimes indicated by the composer, but frequently the performers had to determine which instruments were most appropriate for the particular environment and context of the music.When performing the sacred cantatas of J.S. Bach, the conductor must identify and make decisions regarding the choices and combinations of instruments for both figured and sustained continuo part. In some cases the conductor may even consider changing continuo instrument(s), movement by movement, in a cantata in which a significant shift occurs in the texture, orchestration, or dramatic function of singer's line. Since Bach's cantatas are an encyclopedia of Baroque musical style, and models of compositional techniques of the time, understanding the cantatas is a practical and effective way to gain understanding regarding his other compositions. These cantatas also present musical challenges and rewards to choirs and orchestras.In an attempt to achieve a greater understanding and establish guidelines, I will examine and propose six principles and parameters regarding choices and combinations of basso continuo instruments and obbligato instruments, examining a variety of movement types from six different sacred cantatas of J.S. Bach ; Christ lag in Todesbanden, BWV 4; Ich hatte viel bekümmernis, BWV 21; Halt im Gedächtnis Jesum Christ, BWV 67; Herr, gehe nicht ins Gericct mit deinem Knecht, BWV 105; Wachet auf, ruft uns die Stimme, BWV 140, and Erschallet, ihr Lieder, BWV 172.This study will include:1) A critical review of performance practice and historical evidence regarding the basso continuo part in Bach's sacred cantatas2) Using "4 TAV System: Six Parameters" performance considerations and suggestions for instrument choices in basso continuo group for chorus, solo, recitative, and chorale movements in the selected cantatas3) Examinations and suggestions of several possible choices and combinations of basso continuo instruments
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Simpson, Will M. "A conductor's guide to J.S. Bach's Cantata 150 "Nach dir, Herr, verlanget mich"." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1389681.

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Conducting the cantatas of Johann Sebastian Bach can be a challenge of sizeable proportions. A significant part of the challenge arises from interpreting and synthesizing several key elements. These elements must be addressed by the conductor if she or he is to produce an informed performance of the work. Before conducting J.S. Bach's Cantata 150, a conductor must have specific knowledge of the various issues that directly impact the performance of the cantata. These issues include appropriate tempi, performing pitch, dynamics, phrasing and articulation, ornamentation, continuo issues, size and sonority of ensemble, historical background, text painting and period instrument factors. This dissertation provides the conductor with a practical and functional guide that addresses the many interpretative elements and provides answers to several specific questions about Cantata 150, aiding the conductor in making critical decisions about preparing and performing this cantata. Divided into three main sections, including a performance practice chapter, a theoretical analysis chapter and a synthesis chapter, this practical manual analyzes and examines the cantata from a performer's point of view. A selected Discography is included.
School of Music
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Beisswenger, Kirsten. "Johann Sebastian Bachs Notenbibliothek /." Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35518086m.

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Felix, Werner. "Wie familiär war Johann Sebastian Bach?" Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37242.

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Books on the topic "Cantatas (Bach, Johann Sebastian)"

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Hart, Maarten 't. Johann Sebastian Bach. [S.l.]: Joan Records, 2000.

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Nieden, Hans-Jörg. Die frühen Kantaten von Johann Sebastian Bach: Analyse, Rezeption. München: Katzbichler, 2005.

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Rich, Alan. Johann Sebastian Bach: Play by play. San Francisco: HarperCollins, 1995.

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Dürr, Alfred. Die Kantaten von Johann Sebastian Bach mit ihren Texten. 5th ed. München: Deutscher Taschenbuch Verlag, 1985.

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Die Kantaten von Johann Sebastian Bach mit ihren Texten. 5th ed. München: Deutscher Taschenbuch Verlag, 1985.

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Die Bach-Kantaten: Einführungen zu sämtlichen Kantaten Johann Sebastian Bachs. Leipzig: Evangelische Verlagsanstalt, 2006.

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Simon, Carl Geoffrey. Musical iconography in the sacred cantatas of Johann Sebastian Bach. Ann Arbor, Mich: University Microfilms International, 1990.

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Chafe, Eric Thomas. Analyzing Bach cantatas. New York: Oxford University Press, 2000.

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Christoph, Wolff, ed. The world of the Bach cantatas. New York: Norton, 1997.

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Die Zahl im Kantatenwerk Johann Sebastian Bachs. Neuhausen-Stuttgart: Hänssler, 1986.

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Book chapters on the topic "Cantatas (Bach, Johann Sebastian)"

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Wolff, Christoph, Walter Emery, E. Eugene Helm, Ernest Warburton, and Ellwood S. Derr. "Johann Sebastian Bach." In Die Bach-Familie, 60–286. Stuttgart: J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-04417-4_8.

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Eggebrecht, Hans Heinrich. "Bach, Johann Sebastian." In Metzler Komponisten Lexikon, 20–29. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_11.

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Eggebrecht, Hans Heinrich. "Bach, Johann Sebastian." In Komponisten Lexikon, 15–22. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_10.

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Wollny, Peter. "Johann Sebastian Bach." In Barockmusikführer, 36–55. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_8.

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Eggebrecht, Hans Heinrich. "Bach, Johann Sebastian." In Komponisten, 5–13. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_2.

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Otte, Andreas. "Johann Sebastian Bach (1685–1750)." In Famous Composers – Diseases Reloaded, 23–63. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06671-9_2.

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Kretschmar, Joachim. "17 Johann Sebastian Bach: Gott der Musik." In Die Morgenandacht, 137–44. Göttingen: Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.13109/9783666630620.137.

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Meißner, Thomas. "Johann Sebastian Bach: Knöcherne Folgen des Orgelschlagens." In Der prominente Patient, 5–7. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57731-8_1.

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Elste, Martin. "Eine Markuspassion von Johann Sebastian? (BWV 247)." In Meilensteine der Bach-Interpretation 1750–2000, 234–35. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03792-3_21.

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Kruse, Andreas. "Präludium – welchen Blick auf Person und Werk des Komponisten Johann Sebastian Bach legt die Alternsforschung nahe?" In Die Grenzgänge des Johann Sebastian Bach, 1–23. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-54627-3_1.

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Conference papers on the topic "Cantatas (Bach, Johann Sebastian)"

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Marcaletti, Livio. "»Strafspiel« und satirische Stilmittel in musikdramatischen Gattungen des frühen 18. Jahrhunderts." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.63.

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Abstract:
The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal works with the help of Gérard Genette’s category of “burlesque travesty” which describes the stylistic degradation of a tragic-heroic subject as a satirical function. This stylistic mixture is achieved by the use of specific musical devices, which are shown in this article on the basis of case studies on music by Francesco Bartolomeo Conti, Johann Sebastian Bach and Georg Friedrich Händel.
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Günther, C. "Zehnjährige Erfahrung mit dem „ESCEO-IOF-Song“ – unterstützt durch Johann Sebastian Bach – im Kampf gegen die Volkskrankheit Osteoporose." In Osteologie 2020. © Georg Thieme Verlag KG, 2020. http://dx.doi.org/10.1055/s-0039-3402872.

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