Relevant bibliographies by topics / Choral music (Bach, Johann Sebastian)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

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

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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

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Acatrini, Vladimir, Myroslava Vovk, and Nataliia Filipchuk. "10. The Influence of Eusebie Mandicevschi on the Formation of the Personality of the Composer Marţian Negrea." Review of Artistic Education 25, no. 1 (2023): 57–65. http://dx.doi.org/10.2478/rae-2023-0010.

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Abstract The composer, choir conductor and musicologist, raised from the lands of Bucovina. Eusebie Mandicevschi (1857 - 1829) left posterity a complex musical work: vocal, symphonic, chamber, choral music, prestigious critical studies on Johann Sebastian Bach, Ludwig van Beethoven, Joseph Haydn, Franz Schubert, Johannes Brahms, distinguishing himself, throughout his life, through a sustained and competent pedagogical activity, through a prodigious social activity he was a teacher at the “Akademie für Musik und darstellende Kunst” in Vienna, as an archivist and librarian at the “Gesellschaft d
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Prodma, T. "JOHANN SEBASTIAN BACH. TOCCATA AND THE FUGUE F-DUR FOR ORGAN BWV 540 In search of choral sources and art meanings The first assay." Annali d'Italia 33 (July 26, 2022): 10–17. https://doi.org/10.5281/zenodo.6907579.

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This article examines a famous work of I.S. Bach – Toccata and the fugue F-dur for organ BWV 540. A question is being considered regarding the dating of parts of this organ cycle. It is hypothesized that Bach when creating it could attract Lutheran chorales to the musical source. The article is an essay that analyzes the first section of the toccata F-dur BWV 540. I call the alleged chorale source of this section – the chorale “Allein Gott in der Höh`”. Organ compositions created by Bach for this chorale were attracted for comparative analysis. The goal is to lift
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Savon, Dmytro. "Performance Composition of Johann Sebastian Bach’s Motets: Hypotheses and Discussions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 198–208. http://dx.doi.org/10.31318/2522-4190.2021.132.250006.

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Relevance and scientific novelty of the selected topic of the research. The issues of the performance of J. S. Bach's motets has not been considered in Ukrainian musicology before, and in creative practice it has been decided unequivocally: choirs sang motets a cappella. However, in the world practice of motets today there are three variants of performance: in addition to singing unaccompanied, motets are performed with basso continuo (organ), as well as with basso continuo accompanied by instruments that duplicate choral parts (colla parte). The revision of performance approaches in world con
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Stinson, Russell. "The Neumeister Collection of Chorale Preludes from the Bach Circle (Yale University Manuscript LM 4708) . Johann Sebastian Bach . Orgelchorale der Neumeister-Sammlung / Organ Chorales from the Neumeister Collection . Johann Sebastian Bach , Christoph Wolff ." Journal of the American Musicological Society 40, no. 2 (1987): 352–61. http://dx.doi.org/10.1525/jams.1987.40.2.03a00070.

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Stinson, Russell. "Review: The Neumeister Collection of Chorale Preludes from the Bach Circle (Yale University Manuscript LM 4708) by Johann Sebastian Bach; Orgelchoräle der Neumeister-Sammlung / Organ Chorales from the Neumeister Collection by Johann Sebastian Bach, Christoph Wolff." Journal of the American Musicological Society 40, no. 2 (1987): 352–61. http://dx.doi.org/10.2307/831522.

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Sposato, Jeffrey S. "Saint Elsewhere: German and English Reactions to Mendelssohn's Paulus." 19th-Century Music 32, no. 1 (2008): 26–51. http://dx.doi.org/10.1525/ncm.2008.32.1.026.

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Abstract This article examines German and English reactions to Felix Mendelssohn's 1836 oratorio, Paulus. German Protestant audiences recognized Paulus's devotional, or spiritual, quality, which derived from its incorporation of well-known Lutheran chorales. In using chorales and reflective arias and choruses, Mendelssohn followed the model established by Johann Sebastian Bach in his St. Matthew Passion, a work that Mendelssohn had reintroduced to German audiences in 1829. When Paulus was premiered for English audiences in a translation called St. Paul, it was enthusiastically received. But th
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Medňanský, Karol. "Songwriting and Chorale by Martin Luther." Review of Artistic Education 17, no. 1 (2019): 22–31. http://dx.doi.org/10.2478/rae-2019-0002.

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Abstract The five hundreth anniversary that we commemorated in 2017 is a good opportunity to remind the significance of vocal works by Martin Luther. Creative musical activity of Dr. Martin Luther is somehow in the shadow of his other historically significant activities. It is a well-known fact that he was an outstanding musician who could play lute and could sing. In his household, he constantly played music and sang, while he actively engaged his family in performing music. In performing the reformatory ideas, he was aware of the extremely important role of religious singing, which he starte
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Agapova-Strizhakova, Elena A. "Gregorian Chant in Organ Sonatas by J.-N. Lemmens." Contemporary Musicology, no. 2 (2022): 107–19. http://dx.doi.org/10.56620/2587-9731-2022-2-107-119.

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The 1860s played a special role in the history of organ music in Belgium and France. This period was marked by the active development of substantive repertory and the establishment of the Franco-Belgian organ school. All the advances of this period could not be possible without the contribution of the Belgian composer, organist and teacher Jacques-Nicolas Lemmens. Brought up on the traditional for Catholic Belgium Gregorian chants and the organ works by Johann Sebastian Bach, Lemmens managed to organically transfer Bach's principles of working with Lutheran chant to completely different materi
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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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Humphreys, David. "RECORDINGS: Johann Sebastian Bach." Early Music XX, no. 2 (1992): 361–62. http://dx.doi.org/10.1093/earlyj/xx.2.361.

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Dissertations / Theses on the topic "Choral music (Bach, Johann Sebastian)"

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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 comp
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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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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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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 select
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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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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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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 p
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Deppert, Heinrich. "Einige Anmerkungen zu Johann Sebastian Bachs vierstimmigen Choralgesängen." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37234.

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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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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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Books on the topic "Choral music (Bach, Johann Sebastian)"

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Jones, Gordon. Bach's choral music: A listener's guide. Amadeus Press, 2009.

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Max, Pommer, and Neues Bachisches Collegium Musicum Leipzig, eds. Masters of classical music: Vol. 2 : Johann Sebastian Bach. LaserLight Digital, 1988.

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Parrott, Andrew. The essential Bach choir. Boydell, 2000.

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John, Butt, ed. The sacred choral music of J.S. Bach: A handbook. Paraclete Press, 1997.

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Hart, Maarten 't. Johann Sebastian Bach. Joan Records, 2000.

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Marshall, Robert Lewis. The music of Johann Sebastian Bach. Schirmer, 1989.

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Winschermann, Helmut. Ein Lebensweg zu Johann Sebastian Bach. 2nd ed. Loon Verlag, 2005.

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

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Geck, Martin. Johann Sebastian Bach: Johannespassion : BWV 245. W. Fink, 1991.

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Badura-Skoda, Paul. Bach-Interpretation: Die Klavierwerke Johann Sebastian Bachs. Laaber-Verlag, 1990.

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

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Perdices de Blas, Luis, and José Luis Ramos-Gorostiza. "Johann Sebastian Bach and Georg Friedrich Händel: The Economics of Late Baroque Market for Music." In On Music, Money and Markets. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-43226-2_2.

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Reiter, Walter S. "Johann Sebastian Bach." In The Baroque Violin & Viola, vol. II. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0021.

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This long and comprehensive study of one of the best-known pages of Bach’s music deals with multiple topics. Bach writes out his own ornamentation, for which he was criticized at the time: this has led to a tradition of misguided obedience to the letter, rather than to the spirit, of the musical text. Bach’s ornamentation is compared with that of Corelli; it should sound more like improvisation than melody. The bass is embedded in the whole and must be clearly audible, the harmonies dictating the flow of the music and the dynamic schemes. Examples are given of slurs, not always clear in Bach’s
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Alwes, Chester L. "The Choral Music of Johann Sebastian Bach (1685–1750)." In A History of Western Choral Music, Volume 1. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780195177428.003.0010.

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Marissen, Michael. "On the Jews and Their So-Called Lies in the Fourth Gospel and Bach’s St. John Passion." In Bach against Modernity. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197669495.003.0008.

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Abstract This chapter suggests that Johann Sebastian Bach arguably went far beyond the call of duty in musically depicting Jewish opposition to Jesus in a series of biblical choruses for the St. John Passion that center on what Martin Luther, in his On the Jews and Their Lies of 1543 (a screed that Bach himself owned), had deemed the most fundamental of Jewish lies. The scholarly notion that there appears to have been in Bach’s Leipzig a maturing spirit of openness and fairness toward Jews, such that by the 1730s, the times had indeed changed and that thus it would have been unlikely to encoun
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Johann Sebastian Bach (1685-1750) [Rediscovery And Influence; Compositional Method As Shown In Rearrangements]." In The Classics of Music. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0053.

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Abstract The rediscovery of Bach’s choral music dates from the boyhood of Mendelssohn, who at 12 years of age read the autograph of the Matthew Passion in the Royal Library at Berlin, and never rested until he had given a private performance of it, the first since Bach’s death. In England the revival began still earlier, by the performances and publications of Wesley and Crotch. (In 1850, a century after his death, a society was started for the correct publication of all Bach’s remaining works.) Robert Franz, the song-writer, arranged some of Bach’s finest works for modern performance: a valua
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Steinberg, Michael. "Johann Sebastian Bach." In Choral Masterworks. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195126440.003.0003.

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Abstract Johann Sebastian Bach was born in Eisenach, Thuringia, on 21 March 1685 and died in Leipzig, Saxony, on 28 July 1750. The BWV numbers refer to Wolfgang Schmieder’s catalogue of Bach’s works, published in 1950. Schmieder was as retiring as one imagines librarians and archivists to be, and he did not want the items in the catalogue he spent years making referred to by S-numbers, comparable to the K-numbers associated with Ludwig Köchel’s Mozart catalogue; he recommended instead the use of BWV for Bach Werke Verzeichnis (Catalogue of Bach’s Works). Schmieder’s catalogue is arranged by ca
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"JOHANN SEBASTIAN BACH." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.4.

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Tilmouth, Michael, David Kimbell, and Roger Savage. "Johann Sebastian Bach." In The Classics of Music. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0002.

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Abstract This is one of the greatest as well as the most elaborate of Bach’s solo cantatas. It lends itself especially well to performance in a room which possesses a fine organ, and yet is not too large for chamber music and for Bach’s rich ornamentation, which even in his most massive works so urgently demands many of the conditions of chamber music. Moreover, though it was, like all Bach’s church cantatas, written expressly for a certain church service, on a certain day of the church year, it happens to be in a form which does not absolutely demand the production of the service itself to ju
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Reiter, Walter S. "Johann Sebastian Bach." In The Baroque Violin & Viola, vol. II. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0030.

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The minuet is the Baroque dance “par excellence,” first danced in Louis XIV’s court. One of its intrinsic characteristics is the deliberate contradiction between the movements and the music. Phrase lengths can also vary, thus creating even more intricate ambiguities between music and steps. Choreographic descriptions are given. As to tempo, the sources are by no means unanimous. Minuets in French court dances typically come in pairs, a tradition Bach generally follows: although no dynamic instructions are offered, the two Bach minuets examined here have clear stylistic differences. Minuet I ha
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Reiter, Walter S. "Johann Sebastian Bach." In The Baroque Violin & Viola, vol. II. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0031.

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Textual similarities abound between the Bourée and the Gigue in Bach’s Partita III in E Major, giving the movements a strong element of unity. As the combined movements are a mere sixty-eight bars long, they may be considered as a pair, the first leading almost attacca into the second. The choreography of both movements is discussed. The metric structure of the Bourée is identical to that of the Gavotte. Syncopation is a common feature and there is a strong element of it throughout this movement. Bach wrote some forty-two movements with the title of Giga, Jig, Jigg, or even (BWV 815) Gique, co
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Conference papers on the topic "Choral music (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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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 work
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