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1
AUCLAIR, FRANCIS. "L'interpretation des oeuvres de j. S bach." Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20068.
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Etude de tous les documents d'epoque et de tous les textes litteraires et musicaux de bach concernant l'interpretation de son oeuvre musicale<br>Study of every theorical and musical texts about the interpretation of the musical works of j. S. Bach
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Mašlaň, Petr. "Johann Sebastian Bach. Kantáty s obligátním violoncellem." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177718.
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This thesis is engaged in cantatas of Johann Sebastian Bach, in which composer calls for violoncello piccolo. It is divided into four chapters. The first chapter deals with the issue of instrument, the following chapter is dedicated to the historical kontext of cantatas and their instrumentation in connection with violoncello piccolo. The third chapter is a musical analysis of individual arias in nine subsections. The fourth chapter deals with the question, on which instrument can be now these solos. The thesis contains actual score examples and the footnotes.
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Linsley, Dennis Edward. "Melodic inversion in J. S. Bach's keyboard suites / by Dennis Edward Linsley." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7770.
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Arnaud, Catherine. "Variations d'après un thème de J. -S. Bach." Paris 1, 1990. http://www.theses.fr/1990PA010612.
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L'objectif de mon projet de recherche est de mettre en évidence des relations spirituelles entre musique et peinture. L'analyse de mon dispositif mis en place est centrée sur une étude visuelle et sonore d'un rouleau à musique de piano mécanique. Visuellement, les rouleaux de partitions de piano mécanique se présentent comme une grille à base de trous perforés. Les trous représentent les notes sur le piano. Le processus inventif a pour but de transposer la partie musicale en code plastique. Il s'agit d'écouter et de regarder la musique. Ainsi, l'ai compose une série de 6 tableaux correspondant à la structure du montage de 6 rouleaux a musique. Leur représentation est ordonnée et intitulée chacun selon un ordre numérique: variation 0, 1, 2, 3, 4, 5, 6, d'après un thème de J. S. . Bach. La lecture de mes séquences graphiques constitue un code qui cherche à rendre explicite un phénomène de composition décomposition d'une séquence graphique et sonore (autour du son et du silence). C'est une interrogation sur le langage verbal: le sonore et le visuel viennent s'ajouter afin d'établir une ouverture plus large de communication. Aussi, je me suis orientée vers des recherches comparatives avec mon système de représentation. Ce processus autocritique propose un itinéraire labyrinthique autour d'une expérience intérieure picturale et musicale<br>The aim of my research is to reveal the spiritual relationsh ip between en music and painting. The analysis of my display is based on a visual and sonorous study of a mechanical piano music roll. Visually, mechanical music rolls present perforated holes in the paper. These holes represent the notes played on the piano. The inventive process consists in transposing the musical part into a plastic code. It is this a matter of listening to and seeing music. Also, i have composed a successfon of 6 paintings corresponding to the structure of 6 music rolls. Each one of these representations is entitled according to a numerical order: variations 0, 1, 2, 3, 4, 5, 6, from a theme by J. S Bach. The reading of my graphyc sequences constitutes a code that searches to explain a phenomenon of composition decomposition of a graphic and sonorous sequence (based around sound and silence). It is an interrogation of verbal language: sound and vision combine in order to create a larger opening in the field of communication. I have also orientated myself towards comparative studies with my system of representation. This self-critical approach profounds a labyrinthic journey into pictoriental and musical experience
5
Costa, Gustavo Silveira. "Seis sonatas e partias para violino solo de J. S. Bach ao violão: fundamentos para adaptação do ciclo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-08032013-133951/.
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Os Sei solo â Violino senza Baßo accompagnato de Johann Sebastian Bach (BWV 1001-1006) têm sido transcritos para violão em movimentos isolados desde o final do século XIX e a transcrição (1934) da grandiosa Ciaccona pelo espanhol Andrés Segovia (1893-1987) tornou-se uma peça central no repertório para violão, sobretudo porque que a escrita para violino sofreu um redimensionamento na adaptação do violonista. Por outro lado, as abordagens do ciclo completo no violão têm se aproximado cada vez mais da escrita original para violino. Kazuhito Yamashita (1989), autor da primeira gravação do ciclo completo no violão, se mostra ainda influenciado pela prática segoviana de transcrição, mas Frank Bungarten (1988 - Sonatas/2000 - Partitas) chega a rechaçar a transcrição BWV 1006a, em que o próprio compositor adiciona baixos e preenchimentos harmônicos; Elliot Fisk (2001) segue o exemplo de Bungarten, realizando linhas de baixo apenas ocasionalmente e Timo Korhonen (2009- 2010) leva esse tipo de abordagem ao ápice, não fazendo adição alguma. Contrariando a tendência atual, a única referência coeva que temos de J. S. Bach tocando seus solos de violino é ao clavicórdio, adicionando quanta harmonia ele julgasse necessário, segundo seu aluno Johann Friedrich Agricola. Transcrições dele e de seus contemporâneos nos mostram que a prática de transcrição sempre envolvia a modificação da escrita original para violino tendendo uma maior elaboração polifônica da obra segundo os recursos da nova instrumentação (normalmente teclado ou alaúde). Ao se transcrever os Sei solo para o violão, a prática da época revela que uma pretensa fidelidade ao texto original é tão equivocada do ponto de vista estilístico quanto seria a versão de Segovia se essa fosse julgada fora dos padrões de sua época. Por outro lado, há gravações parciais dos Sei solo ao violão que seguem em maior ou menor grau as práticas de transcrição e de execução barrocas, além de várias gravações do ciclo completo por alaudistas e cravistas que não hesitam em transfigurar a textura original da escrita para violino, para a adequação da escrita aos seus instrumentos. O presente estudo visa estabelecer os fundamentos de uma prática de transcrição para violão dos Sei solo com base nas técnicas de transcrição e de execução do período da composição sem a pretensão de autenticidade ou fidelidade, mas como fonte de recursos de instrumentação (pela reelaboração da textura polifônica com adições de linhas de baixo e preenchimentos harmônicos) e de expressão (pela adaptação de recursos estilísticos essenciais como as articulações e os ornamentos). Em segunda instância, o estudo apresenta uma nova transcrição para violão dos Sei solo como exemplo de aplicação dos fundamentos de adaptação dessas obras.<br>The Sei solo â Violino senza Baßo accompagnato by Johann Sebastian Bach (BWV 1001-1006) have been arranged for guitar as isolated movements since the end of the 19th century and the transcription (1934) of the great Ciaccona made by the Spaniard Andrés Segovia (1893-1987) became a central work on the repertory, mainly for he remodeled the violin writing when adapting it for guitar. In the other hand, more recent approaches of the cycle have been became progressively simpler and closer to the original writing for violin. The first recording of the cycle on guitar, made by Kazuhito Yamashita (1989), still shows influences of Segovia, but Frank Bungarten (1988 - Sonatas/2000 - Partitas) rejects even Bach\'s own transcription of the 3rd Partia, BWV 1006a, where the composer adds bass lines and harmonies; Elliot Fisk (2001) follows Bungarten\'s example, with few bass additions; Timo Korhonen (2009-2010) goes further and does not add any notes, relying just on the violin score. In opposition to today\'s tendency on guitar, the only reference we to Bach himself playing the violin Solos is on the clavichord, adding as much harmony as he considered necessary, as reports his student Johann Friedrich Agricola. Bach\'s and his contemporaries\' arrangements clearly show us that the change of the medium in a composition (usually violin or cello) always involved the modification of the original writing, generally having more polyphonic elaboration after the resources of the new instrument (normally keyboard or lute). The period\'s practice reveals that an intentioned fidelity to the original musical text in a guitar arrangement is as misplaced as it would be the Segovia\'s version when judged by today\'s standards. In the other hand, there are partial recordings of the Sei solo on the guitar that seek to follow the baroque\'s arrangement and performance practices. There are also several recordings of the whole cycle made by lute and harpsichord players that do not hesitated about changing the original writing for violin in order to adequate the works for their instruments. The present study aims to establish the adaptation principles of the Sei solo for guitar based on period\'s arrangement and performance practices with no pretention of reaching neither authenticity nor fidelity, but simply as instrumentation resources (when rewriting of polyphonic texture with additions of bass lines and harmonies) and expression resources (when adapting stylistic essentials like articulations and ornaments). The secondary purpose of this research is to exemplify an application of the adaptation principles by presenting a new arrangement of the Sei solo for guitar.
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Šulc, Marek. "J. S. Bach a jeho kantátová tvorba pro bas." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78562.
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The purpose of my diploma dissertation is J.S.Bach and his cantata works for bass. I divided the work into the three chapters. The first one is about Bach´s life and works. In the second chapter is the analyse of three cantatas for bass BWV 82, BWV 56, BWV 158. The third one is the list of recitaives, duets and arias for bass in Bach´s sacred cantatas. I sang the cantata " Ich will den Kreuzstab gerne tragen" BWV 56 at my graduate´s concert.
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Hausmann, Christiane. "Bach digital: Ein „work in progress“ der digitalen Musikwissenschaft." De Gruyter, 2018. https://slub.qucosa.de/id/qucosa%3A36383.
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Der Beitrag zeichnet die inhaltlichtechnische Entwicklung der Komponistendatenbank Bach digital nach und erläutert ihre Zielsetzungen. Damit einhergehend werden einerseits die Herausforderungen und Probleme digitaler Langezeitprojekte benannt. Andererseits wird dargestellt, wie durch die Entwicklung eines komplexen digitalen Recherche-Instruments die Organisation und Präsentation von Forschungsergebnissen transformiert werden und welche Veränderungen sich dadurch für das musikwissenschaftliche Arbeiten und die Forschungskommunikation ergeben.<br>The article outlines the content-technical development of the composer-database Bach digital and explains the project goals. Consequently, on the one hand, the challenges and problems of digital long-term projects are identified. On the other hand, it is shown how the organization and presentation of research results are transformed by the development of a complex digital research instrument and which changes result from it for the musicological work and the research communication.
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Fernandes, Irene Trabulo. "Liberdade interpretativa nas invenções de J. S. Bach no piano." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/6081.
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Mestrado em Música - Performance<br>O presente projeto pretende demonstrar que se podem interpretar as
Invenções e Sinfonias de J. S. Bach de diversas formas, sem pôr em causa a
qualidade de interpretação. Faz uma reflexão sobre quais serão as condições
necessárias para uma boa interpretação. Procura expor os passos percorridos
até chegar à minha interpretação. Esse caminho, tem como ponto de partida
uma análise comparativa dos autógrafos originais da obra, as fontes primárias.
De seguida seleciona, pesquisa e analisa fontes secundárias, como cópias
manuscritas, edições, gravações e outros estudos sobre a obra, confrontandoos
com os originais.
Todos os dados recolhidos contribuem para melhorar o meu conhecimento
sobre a obra e construir a minha interpretação, que se vai moldando num
processo ininterrupto em busca de mais descobertas sobre a mesma.<br>The present projectʼs goal is to prove that it is possible to interpret the
Inventions and Sinfonias of J. S. Bach differentely, without questioning the
quality of interpretation. It reflects on the conditions needed for a good
interpretation. It tries to show the steps that have been taken towards my
interpretation. It has as a starting point, a comparison study of the original
manuscripts of the work, the primary sources. Then it selects, enquires and
analyses secondary sources, such as other manuscripts, editions, records and
studies about the work, comparing them with the originals.
All information collected helps to improve my knowledge of the work and to
build my interpretation, which is being shaped in a continuous process while
searching for more discoveries about it.
9
Lindley, Mark. "J. S. Bachs Klavierstimmung." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38348.
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Lim, Aesook. "The Long Chorale Preludes of J. S. Bach (1685-1750): Study of Accompaniments together with Three Recitals of Selected Works by Dietrich Buxtehude (1637-1707), J. S. Bach, Louis Vierne (1870-1937), and Others." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5219/.
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Johann Sebastian Bach's chorale preludes are varied and artistic not only in the treatment of chorale melodies, but also in the accompaniments of those chorale melodies. This study examines the accompaniments of Bach's long chorale preludes, focusing on identifying the various types and the characteristics that make them unique. This study investigates the two broad categories of accompaniments depending on whether the motives are chorale-derived or independent of the chorale. While the chorale prelude accompaniments in the first large group are closely related, the accompaniments of the chorale preludes in the second group stand independently and illustrate the vast range of Bach's compositional skill. Both groups demonstrate Bach's interest in expanding his predecessors' models, a trait that can be traced throughout all of Bach's compositional history.
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Francis, Mark S., and Mark S. Francis. "REVELATION OR PHILOSOPHY: DEFINING SYMBOLISM IN THE MUSIC OF J. S. BACH." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626513.
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Franklin, Don O. "Articulation in the Cembalo Works of J. S. Bach: A Notational Study." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38353.
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Delgutte, Michèle. "L'évolution de la Passion luthérienne de H. Schütz à J. S. Bach." Paris 4, 1995. http://www.theses.fr/1994PA040193.
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Cette thèse étudie l'évolution de la forme musicale de la passion luthérienne depuis l'exemple des passion-repons de H. Schutz jusqu'aux passions-oratorio de J. S. Bach. A travers l'analyse de partitions, elle considère la transformation du langage musical pendant la période 1650-1750, soit par l’apport d'éléments nouveaux (instruments, chorals, airs. . . ), soit par l'apparition de nouvelles structures (création de l'oratorio de la passion en 1704). Elle observe également les mouvements théologiques (piétisme) et littéraires (poésie religieuse, livrets) qui ont influencé la passion. Elle illustre l'importance de cette forme par l'établissement d'un corpus recensant 308 passions composées à cette période, et par la restitution de partitions inédites<br>This work studies the evolution and the development of the musical form of the Lutheran passion, from the responsorial passions of H. Schutz, to the oratorio-passions of J. S. Bach. Through the analysis of several scores, it considers the transformation of the musical language, during the 1650-1750 period, either by the introduction of new elements (instruments, chorals, airs. . . ), or by the apparition of other structures (creation of the passion oratorio in 1704). It observes the evolution of theological (pietism), and literary (religious poetry, librettos) movements, which have directly influenced the passion. It also illustrates the life of this musical form through the study of a corpus of 308 passions composed at this period, and the transcriptions of original scores
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Koudasheva, Nadezhda. "Reconciling the analyst and the performer: Interpreting polyphony in Russian/Soviet piano transcriptions of J. S. Bach’s works." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21182.
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Attempts to analyse polyphonic textures from a score can result in controversially different conclusions. By drawing on questions which arise from analysing Russian/Soviet piano transcriptions of works of J. S. Bach this study demonstrates how some conclusions made about polyphonic texture from a score are effectively descriptions of an imagined performance by the analyst. Many factors defined in a performance influence the analyst’s decision to note the presence of polyphonic features such as inferred melodies. The value of realising that an analyst is effectively an analyst-performer becomes particularly evident when attempting to analyse Bach transcriptions. Aside from discussing analytical methods, the underlying aim of this study is to draw attention to the extensive tradition of Russian/Soviet piano transcriptions of works of J. S. Bach which spans from the first half of the 19th century to today and includes over 250 transcriptions by dozens of transcribers. The relevant scores and texts were either accessed from libraries and archives in Russia or sourced online. Most of these materials have not been previously been engaged with in English-language studies. The re-discovery of Russian/Soviet Bach transcriptions and associated literature will benefit professional musicians, students, and the wider audience.
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Nilsson, Alice. "J.S Bach Partita no. 2 : Min tolkning och interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3589.
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Dommange, Thomas. "Les paradoxes métaphysiques de la Passion selon Saint Matthieu de J. -S. Bach." Paris 10, 2004. http://www.theses.fr/2004PA100176.
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Ce travail propose de déployer les paradoxes métaphysiques contenus dans la Passion selon saint Matthieu de J. -S. Bach. A la fois œuvre liturgique et opéra exporté hors de sa scène, la Passion contient le projet métaphysique d'amener les corps à l'effectivité du salut, c'est-à-dire d'accomplir en lieu et place de la liturgie la constitution d'un homme nouveau. A cet homme, la Passion, grâce à l'agencement spectaculaire des instruments et des voix, va offrir un corps constitué entièrement par l'affect de joie. L'examen de cet affect, de son rapport ambigu au plaisir spectaculaire, permet de proposer une interprétation matérialiste, non seulement des enjeux théologiques contenus dans la Passion, mais de la question de la transcendance<br>This work proposes to develop the metaphysical paradoxes contained in the saint Matthew Passion by J. S. Bach. Both liturgical work and opera transported out of its stage, the Passion has the metaphysical project to bring bodies to effective salvation, that is to say to substitute itself to the liturgy in order to constitute a new man. The Passion, thanks to the spectacular agency of the instruments and the voices, will offer to that man a body entirely constituted by the affect of joy. By examining that affect, its ambiguous relation to spectacular pleasure, we may suggest a materialistic interpretation, not only of the theological matters contained in the Passion, but also of the question of transcendence
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Liao, Wei-Chun. "A Study of Musical Rhetoric in J. S. Bach's Organ Fugues BWV 546, 552.2, 577, and 582." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427983542.
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Baek, Jung Jin. "A Conductor’s Guide to J. S. Bach’s Quinquagesima Cantatas." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337101464.
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Mitchell, Heather. "A Reconsideration of the Performance of the Chorales in J.S. Bach's Passio Secundum Johannem, BWV 245 and the Influence of Harmonic Language and Baroque Affekt on Modern Performance Practices." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596096.
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This document examines the performance practices of the chorales in Johann Sebastian Bach's (1685-1750) Passio secundum Johannem, BWV 245. While many modern-day scholars and performers believe that the congregation sang the Passion chorales and therefore perform them in an accordingly straightforward and homogenous manner, my involvement with this work has led me to consider other possibilities of performance. I am convinced by the evidence in the Ordnungen und Gesetze der Schola Thomana (Regulations and Legislations of the Thomas School), the evidence presented by three renowned Bach scholars, and the evidence of Bach’s music, that the congregation would not have sung the chorales of the Passion. Having scrutinized the musical language and text that Bach deliberately and thoughtfully laid out, I see the possibility for a more dramatic and contextualized approach to these chorales, something the congregation would not and could not have achieved. Because there is almost no published scholarship regarding the performance practice of Passion chorales, there is a need for a study of this nature. My goal is to provide conductors and performers with a historically-informed option to present Bach's chorales in a manner that reflects the drama of the Passion story. I will demonstrate that conductors should consider factors such as harmonic language, textual interpretation, and placement within the broader Passion narrative when making interpretive performance decisions for each of the twelve chorales.
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Pierce, Stephen R. "An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions of Works by J. S. Bach." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1322052457.
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Howard, Jason Tad. "Part I: A Nighttime Trilogy for Saxophone and Piano Part II: A Schenkerian Analysis of Suite No. 1 for Unaccompanied Cello by J. S. Bach." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279403848.
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Amorim, Joana Luísa Nogueira. "Sonata em Lá Maior de J. S. Bach BWV 1032 : problemática da sua reconstrução." Master's thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/1136.
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Mestrado em Música<br>A presente dissertação visa, partindo do estudo do autógrafo da sonata BWV
1032 (no qual falta parte da obra) e da análise de tentativas de reconstrução
da música perdida, criar e justificar uma nova tentativa de resolução para este
problema.
ABSTRACT: The dissertation which follows has as its aim, through the study of the Sonata’s
BWV 1032 autograph (in which part of the music is missing) and through the
analysis of other reconstructions, to create and to justify a new one.
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Dube, Michelle Claire. "Prelude of Suite V for cello solo by J. S. Bach: Options for performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.
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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, significant and pertinent information can be gained from this manuscript. Chords, intervals, differing sequence patterns, and differing pitches are all evident when comparing the lute version with the manuscript copies. Many of the added notes from the lute version are playable on the cello and add to the resulting harmony. These playable notes are included in the Appendix in the author's own edition of the Prelude to Suite V based upon the lute score. While a cellist may not choose to follow the lute score, many questions stemming from the variances found in the manuscript copies can be made clearer. The Prelude to Suite V was written in the French overture form. There is much controversy as to the manner in which a French overture should be performed. Thus, the performance practice of the French overture style is discussed and presented. Proponents of the style feel it pertained to music of the Baroque period, irregardless if it was written by a French composer, while others feel that no such style existed and there was no basis to include Bach's music in the use of the French overture style. Both sides of the French overture style are presented and related to the performance, specifically, to the Prelude of Suite V for cello solo.
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Jones, Gary Scott. "A conceptual method of learning jazz improvisation through studying the music of J. S. Bach." Thesis, West Virginia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618108.
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<p> Johann Sebastian Bach's music includes exceptional source material for learning jazz improvisation. This research document has three sections. Chapter 1 is a concise review of respected jazz studies literature. Chapters 2 through 4 introduce a jazz improvisation methodology with Bach's music as its source material. The appendix presents materials on topics such as using improvisation for learning music, understanding improvisation, and organ improvisation. The target audience members for this research document are improvisation teachers who already possess an applicable knowledge of improvisation, pop/jazz chord symbols, and traditional music theory. The figures contained in Chapters 2 through 4 guide educators through ways to incorporate each musical exercise into instruction. Other primary audience members for this improvisation methodology are classically-trained musicians who share a familiarity with J.S. Bach's music yet believe they have no improvisational creativity of their own. </p>
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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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Weman, Ericsson Lena. ""... 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." Piteå Department of music and media, Luleå University of Technology, 2008. http://epubl.ltu.se/1402-1544/2008/54/LTU-DT-0854-SE.pdf.
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Lang, Matthias. "Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271851/.
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Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.
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Rosa, Stella Jocelina Almeida. "Teoria e pratica do baixo continuo : uma abordagem a partir das instruções de J. S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284308.
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Orientador: Edmundo Pacheco Hora<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
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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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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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Almeida, Cosme Luis de. "O processo de transcrição para dois violões da Passacaglia e Fuga BWV 582 de Johann S. Bach." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3974.
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Previous issue date: 2014-03-27<br>This work is the result of the process of transcribing the Passacaglia and Fugue BWV 582 by Johann S. Bach for the formation of two guitars from the procedures found in the transcript of his Concerto in G Major BWV 592 and transcription for harpsichord (BWV 592a). In addition to the procedures presented by Bach, we use data from transcriptions for piano of the Passacaglia and Fugue BWV 582. For these analyzes other works were chosen of Fritz Malata (1882-1949), Eugen d' Albert (1864-1932), Josef Weiss (1864-1945) and Georgy Catoire (1861-1926). The choice of these works analyzed is justified by using restriction characteristics of instrumental possibilities. The work consists of a presentation of our philosophical about the poetics of musical transcription precepts, plus some historical aspects that explain the use of the act of musical transcription over time, a view of transcriptional procedures used by Bach in the transcription of his work, a presentation of procedures employed by other transcribers and ultimately the exposure of the procedures used in transcription for two guitars of the Passacaglia and Fugue BWV 582.<br>Este trabalho é resultado do processo de transcrição da Passacaglia e Fuga BWV 582 de Johann S. Bach para a formação de dois violões a partir dos procedimentos encontrados na transcrição do seu Concerto em Sol Maior BWV 592 e a sua transcrição para cravo (BWV 592a). Além dos procedimentos apresentados por Bach, utilizaremos dados obtidos em transcrições para piano da Passacaglia e Fuga BWV 582. Para essas outras análises foram escolhidas obras de Fritz Malata (1882-1949), Eugen d’Albert (1864–1932), Josef Weiss (1864–1945) e Georgy Catoire (1861–1926). A escolha dessas obras analisadas se justifica por utilizarem características de restrição de possibilidades instrumentais. O trabalho consta de uma apresentação de nossos preceitos filosóficos a respeito da poética da transcrição musical, além de alguns aspectos históricos que expõem a utilização do ato da transcrição musical ao longo do tempo; uma exibição de procedimentos transcricionais utilizados por Bach na transcrição de sua obra; uma apresentação de procedimentos empregados por outros transcritores e, por fim, a exposição dos procedimentos utilizados na transcrição para dois violões da Passacaglia e Fuga BWV 582.
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Todd, Richard. "The Sarabandes from J. S. Bach's Six Suites for Solo Cello: An Analysis and Interpretive Guide for the Modern Guitarist." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3606/.
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The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.
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Atli, Ellendersen. "Parâmetros interpretativos para a sonata para violino solo em lá menor, BWV 1003 de J. S. Bach." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/27445.
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Resumo: Este trabalho trata de questões de interpretação de música barroca, mais especificamente de parâmetros interpretativos para a Sonata para Violino solo em Lá menor, BWV 1003 de Johann Sebastian Bach. A sonata faz parte de um conjunto de obras que são referência absoluta no repertório para violino e imprescindíveis na formação violinística. O estudo traz um resumo do debate travado no final do século XX sobre o papel do intérprete e sua relação com o texto musical e com o compositor. É apresentada uma síntese da crítica e autocrítica feita da interpretação historicamente informada e chega-se à conclusão que o movimento de música antiga é legítimo, trazendo diversificação para o cenário interpretativo. Para contextualizar a sonata, traço um histórico da música escrita para violino desde o início do século XVII até a gênese dos Sei Solo por volta de 1720. Uma análise é feita de sete gravações diferentes da sonata, quatro modernas e três com violino barroco, e estas são confrontadas com ou comparadas à literatura sobre interpretação dos últimos 300 anos.
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Drude, Matthias. "Variation über ein Thema von J. S. Bach (1989): für Klarinette in B, Violine, Violoncello und Klavier." Matthias Drude, 2020. https://slub.qucosa.de/id/qucosa%3A72477.
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Anlass für die Variation über ein Thema von Bach (1989) war ein Konzert in der Hochschule für Musik und Theater Hannover, bei dem insgesamt zwölf ca. zweiminütige Variationen verschiedener Komponisten aus Hannover über das Thema der f-Moll-Fuge aus dem 1. Band des Wohltemperierten Klaviers von J. S. Bach uraufgeführt wurden. Das Thema mit seinen immerhin neun verschiedenen Tönen der chromatischen Skala (langsame Viertel: c‘-des‘-c‘-h-e‘-f‘-b-a-as-g-f) und die Besetzung (Klarinette, Violine, Violoncello und Klavier) waren vorgegeben.
Wie sich bestätigte, lag ich mit der Annahme richtig, dass die Kollegen mehrheitlich langsame und leise Sätze beisteuern würden. Ich wollte daher das Gegenteil machen, ein Allegro mit ff als Grundlautstärke. Das schnelle Tempo ermöglichte mir zudem eine komprimierte dreiteilige Form (A-B-A‘), die in sich geschlossen wirkt und das kleine Werk auch einzeln aufführbar macht. Neben der vielfältig abgewandelten Ton- bzw. Intervallfolge des Fugenthemas wird auch die f-Moll-Haupttonart übernommen. Die c-Moll-Tonart des Mittelteils steht für die Comes-gestalt des Fugenthemas In der Coda kommt es dann noch zu einem kurzen fugierten Abschnitt. (Computer-Notensatz (SIBELIUS): August 2020)
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Moseley, Rowland. "The Art of Gigue: Perspectives on Genre and Formula in J. S. Bach's Compositional Practice." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064937.
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The objects of this study are the thirty-four gigues of J. S. Bach. This corpus of pieces represents one musician's encounter with the most engrossing dance genre of his time, and by coming to terms with this repertory I develop analytical perspectives with wide relevance to music of Europe in the early eighteenth century. The dissertation has a clear analytical focus but it also speaks to methodological issues of the relationship between theory and analysis, and the problem of reading a creative practice out of fixed works. Its main theoretical commitment is to middle-out perspectives on musical process.
The dissertation's main themes are form, hypermeter, and schema. Its primary contribution to music theory lies in setting out an original position on the analysis of hypermeter, and advancing approaches to form and schema that are consistent with that position. "Form" and "schema" refer to compositional formulas that associate with hypermeter on the larger and smaller scales respectively, with observational windows as wide as the first half of a binary movement and as narrow as a couple of bars.
Chapter 2 addresses the form of Bach's cello gigues. I arrive at a complete model of formal functions and phrase rhythm by first considering the turning points in the rhetoric of Fortspinnung. Chapter 4 addresses the chain of fifths sequence in Bach's harpsichord gigues. I analyze over fifty sequence passages, develop a typology of their contrapuntal frameworks, and consider the connections from sequence passages to subsequent events. These substantive analytical case studies flank the discussion of hypermeter. Chapter 3 includes analyses of Bach's orchestral gigue and two chamber-sonata gigues but is the most purely theoretical chapter. Its arguments are relevant to the study of meter and hypermeter across the whole "common practice" period.
Since Chapters 2-4 address subsets of the corpus, a comprehensive overview is entrusted to Chapter 1, which also introduces the dissertation. Chapter 1's overview anchors the more specialized chapters in a wider reflection on the ability of compositional technique to inflect different styles, idioms, genres, and affects.<br>Music
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Martelli, Paulo Cesar [UNESP]. "Contribuições da retórica musical nos processos de transcrição da suite BWV 1008 de J. S. Bach para o violão de onze cordas." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153528.
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Previous issue date: 2018-02-21<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A presente tese discute as contribuições da retórica musical nos processos de transcrição do repertório solista do compositor alemão J. S. Bach (1685-1750) para o violão de onze cordas, no inglês, alto-guitar. Trata-se de uma pesquisa alinhada aos fundamentos da Musicologia Histórica, que resulta em uma série de transcrições, concertos e gravações historicamente orientadas. Entre os referenciais teóricos adotados estão os autores basilares da Musicologia Histórica, como Harnoncourt (1989), Kermann (1987), Yates (2013) e Bartel (1997), além dos autores brasileiros Nogueira (2011), Souto (2015) e Cardoso (2015). Dos aspectos metodológicos, pode-se classificar esta pesquisa como documental, de cunho bibliográfico. No segundo momento, realizou-se uma análise comparativa entre obras barrocas. Este estudo se justifica por contribuir para as discussões acerca do violão de onze cordas, até hoje pouco explorado acadêmica e artisticamente. Podemos citar também a necessidade de ampliação do repertório para este instrumento, além do incremento às possibilidades de pesquisas a respeito do violão de onze cordas. Buscamos com isso aplicar princípios da retórica musical barroca na elaboração de uma performance musical sobre o repertório alemão do século XVIII. O estudo sobre a obra de J. S. Bach, a partir dos elementos retórico-musicais, deram subsídios para melhor compreensão de seus processos composicionais, e à aquisição de ferramentas teóricas norteadoras dos processos de transcrição do repertório barroco. O concerto da defesa de tese apresenta a transcrição para violão de onze cordas da Suite II para Violoncelo de J. S. Bach. A presente pesquisa teve como resultado final a gravação de um CD e de um DVD, nos quais apresento diversas obras barrocas transcritas para violão de onze cordas, sob a perspectiva da performance historicamente orientada.<br>This thesis discusses the contributions o f musical rhetoric in the transcription processes of the solo repertoire composed by J. S. Bach (1685- 1750) for the eleven-string guitar, or alto- guitar. It is a research based on the grounds of Hi storical Musicology, which results in a series of historically oriented transcriptions, concerts and recordings. Among the theoretical references adopted, we utilized the fundamental authors of His torical Musicology, such as Harnoncourt (1989), Kermann (1987), Yates (2013) and Bartel (1997), bes ides Brazilian authors Nogueira (2011), Souto (2015) and Cardoso (2015). In terms of methodology, one can classify this research as documentary, of bibliographic character. In a secon d moment, we realized a comparative analysis between baroque works. This study is justified by i ts contribution to the discussions about the alto-guitar, until now insufficiently explored acad emically and artistically. We can also cite the nee d to expand the repertoire for this instrument, as we ll as to increase the possibilities for research on alto-guitar. We seek to apply principles of baroque musical rhetoric in the elaboration of a musical performance on the German repertoire of the eightee nth century. The study of the work of J. S. Bach, from the rhetoric-musical elements, gave subs idies for a better understanding of its compositional processes, and the acquisition of the oretical tools guiding the processes of transcription of the baroque repertoire. The thesis defense concert features the transcription for alto-guitar from Cello Suite II by J. S. Bach. The present research resulted in the recording of a CD and a DVD, in which I present several Baroque works transcribed for the alto-guitar, from the perspective of historically oriented performance.
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Waldaufová, Marie. "Tanec jako hudební forma ve francouzských suitách J. S Bacha." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202465.
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The thesis titled Dance as a musical form in the French suites J. S. Bach thematically follows the bachelor thesis entitled Saraband like a dance in baroque harpsichord literature (with a focus on French Suites by J. S. Bach). It deals with the connection between dance and music form.
The first chapter is an overview of the socio-cultural aspects in France during the reign of Louis XIV. Other chapters are devoted to individual Baroque dances, allemande, courante, corrente, gavotte, minuet and gigue. In addition to the history of dance is here described its baroque dancing form, charactical traits and overview of dance steps, which are often preffered in its baroque choreography, then part of the chapter focuses on the transformation of dance forms in stylized instrumental piece.
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Charkazova, Nigar. "I Bachs anda : Att på cembalo spela Bachs preludium b-moll ur Das Wohltemperierte Klavier I föratt lyckas spela verket på piano." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-66086.
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Syftet med detta arbete var att utvecklas som Bach-interpret på piano genom att först studera verken på cembalo. Förutom på interpretationsfrågor hade jag i min undersökning även fokus på fingerteknik samt uttrycksmässiga utmaningar i Bachs Das Wohltemperierte Klavier (1722) preludium b-moll ur bok I. Metoderna som användes var dels en studie av källor som litteratur, notutgåvor och andra musikers inspelningar samt analys av dessa, dels egen musikalisk praktik på cembalo och piano som jag spelade in. Analyserna av samtliga inspelningar skedde i efterhand. Resultatet visar att spelandet på cembalo har gett mig ett ökat självförtroende i min tolkning av Bach på piano och ökad musikalisk insikt i den tidiga musiken. Jag har fått mycket bättre fingerlegato och jämnare klang. Dessutom har jag kunnat börja och sluta med en svagare dynamik och samtidigt ha jämna och fina toner. Förutom det musikaliska resultatet fick jag även ett kunskapsresultat, eftersom jag läste mycket om stycket och analyserade andras inspelningar och detta har gett mig en bredare syn på den musikaliska stil jag var ute efter. Slutsatserna är att ju mer jag spelar på cembalo desto mer jämnare och stabilare klang får jag i mitt pianospel. Jag får ett bättre fingerlegato. Användning av pedalen är inte längre nödvändig i detta stycke. Dock försvinner lite sångbarhet i pianospelandet
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Borisavljevic, Danica. "Piano recital consisting of works by J. S. Bach, L. Van Beethoven and F. Chopin with extended program notes." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1735.
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Canabarro, Maria Fernanda Leitão. "Scordatura na performance: o uso da scordatura na versão para viola na Suíte n. 5 de J. S. Bach." Universidade Federal de Minas Gerais, 2013. http://hdl.handle.net/1843/AAGS-99WLT2.
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This work aims to study the use of scordatura for viola, focusing on the Suite for Violoncello Solo n. 5 of J. S. Bach. This technique was dropped over time by apparently presenting greater difficulty in performance than when using the standard tunning of the viola. However, scordatura reveals to be a positive practice when performing Bach's Suite no. 5. The use of this technique shows technical and interpretive displays qualities such as, fingering and sound, favorable to performance and also makes the execution of the work hold true to the composer's original version.<br>Este trabalho procura estudar o uso da scordatura na viola, focando na Suíte para Violoncelo Solo n. 5 de J. S. Bach. Esta técnica foi abandonada ao longo do tempo por aparentemente apresentar maiores dificuldade na performance do que ao utilizar-se a afinação padrão da viola. No entanto, a scordatura revela-se uma prática positiva na execução da Suíte n. 5 de Bach. O uso da mesma apresenta qualidades técnico-interpretativas como, por exemplo, dedilhado e sonoridade favoráveis a performance, e também faz com que a execução da obra
mantenha-se fiel à versão original do compositor.
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Čechová, Markéta. "Modelové situace a ornamentální kontrapunkt v Dobře temperovaném klavíru I. J. S. Bacha." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-177738.
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The Master thesis named "Model situations and ornamental counterpoint in The Well Tempered Clavier, book 1, by J. S. Bach" deals with the musical language of composers, specially one like J. S. Bach. The first chapters shows historical facts about when the work was written, explains facts about the instrument and tuning. The second chapter explains the method of analysis, which is based on German musical theorists. Thethird chapter explains, what model situations are and their importance for a musician. In the fourth chapter I speak about ornaments in general and which importance they have for a musician, who is specialized on Baroque music. the fifth chapter deals with the prelude and his history, the sixth chapter deals with the fugue, and explains the process of composing. In the seventh chapter I analýze a fex compositions from the Well Tempered Clavier, book 1, to show different kinds of preludes and fugues in detail.
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Braschowanowa-Stantschewa, Lada. "Die gegenwärtige Interpretation von Instrumentalwerken J. S. Bachs und G. F. Händels in Bulgarien." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38305.
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Prozzillo, Nicholas Stefano. "Organ reform in England : aesthetics and polemics, 1901-1965." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:edc38b39-1749-49b6-b35f-1493f605e7e0.
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This thesis examines organ reform in England between 1901 and 1965, an arena of practical music-making and intellectual and ideological debates in which a number of related practices surrounding the English organ – notably its scholarship, aesthetics of design, liturgical functions, native and foreign repertoires, including J. S. Bach’s organ music – played a central role in transforming the sound, design, and appearance of the instrument. Whilst influential musicians asserted that the English organ of the first half of the twentieth century was a great work of art, and survived in what could be termed ‘splendid isolation’ from Continental models, others contended that it lacked a logical relationship with more than a home-grown repertory. However, supporters of the English organ claimed that technological and tonal improvements made it the most perfect medium for Bach performance. It was a renewed interest in historical organs and repertory that exposed the limitations of cultural centrism, pointing to the English organ’s weakness as a point of departure for understanding its European repertory. This insistence paved the way for an enthusiastic reception of other organs, which, through their construction and new tonal qualities, won the favour of musicians who had found the English organ too limited and focused on a particular culture. The thesis allows historical actors to populate the discourse, revealing the diverse practices out of which a quest for reform emerged. As such the organ provides a fascinating and preliminary rehearsal case for what in the 1970s and 80s would be termed the early music revival.
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Chudý, Vít. "Houslové koncerty J. S. Bacha se zaměřením na stěžejní díla (BWV 1041, 1042, 1043)." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261361.
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The diploma thesis discusses violin concertos and concertante works with violin solo part by Johann Sebastian Bach. The main focus is on three concertos from the „köthen period“ BWV 1041-1043. Out of the formal analysis there is even the interpretation comparation not missing.
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SO, JEONG-HWA. "Rhetorical Perspectives on the Large Settings of Catechism Chorales in J. S. Bach's Clavierübung III." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1216409097.
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Oliveira, Nery André Borges de. "A Memória como um componente na preparação da performance musical: um estudo de caso sobre a Fuga BWV 997 de J. S. Bach." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3608.
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Previous issue date: 2014-04-01<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>In this research we deal with the importance of the structured musical memorization process for the memory performances. The research has a semi-experimental character since it does not have a control group, and because the author is a participant subject. The methodology used follows the principles of memorization strategies explored by authors like Roger Chaffin, Aaron Williamon, Gerald Klickstein, Stewart Gordon, Jane Ginsborg, among others. The research lies on connecting these strategies and organize them into a study plan to be accomplished. The memorization plan follows the division established by Klickstein (2009), in four stages: perception, ingraining, maintenance and recall. However, it presents modifications resulting from the dialogue with other authors. The memorization plan was implemented in the Fugue BWV 997 of J. S. Bach. The proposed goal is to verify the viability and efficiency of strategies that help the memorization on the guitar. The detailed monitoring of his memorization was listed on a study memorial that provides the results achieved in each strategy, the number of application sessions and total time of application.<br>Nessa pesquisa tratamos da importância do processo de memorização musical estruturado para a realização de performances de memória. A pesquisa tem caráter semi-experimental por não possuir um grupo de controle e por ter o autor como sujeito participante. A metodologia utilizada segue os princípios de estratégias de memorização explorados por autores como Roger Chaffm, Aaron Williamon, Gerald Klickstein, Stewart Gordon, Jane Ginsborg, entre outros. A pesquisa consiste em relacionar tais estratégias e organizá-las em um plano de estudos a ser cumprido. O plano de memorização segue a divisão estabelecida por Klickstein (2009), em quatro estágios: percepção, enraizamento, manutenção e recordação. Contudo, este apresenta modificações resultantes do diálogo com outros autores. O plano de memorização foi aplicado na Fuga BWV 997 de J. S. Bach O objetivo proposto é verificar a viabilidade e eficiência de estratégias que auxiliem a memorização ao violão. O acompanhamento detalhado de sua memorização foi registrado em um memorial de estudo que fornece os resultados alcançados em cada estratégia, o número de sessões de aplicação e o tempo total de aplicação.
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Martelli, Paulo Cesar 1966. "Contribuições da retórica musical nos processos de transcrição da suite BWV 1008 de J. S. Bach para o violão de onze cordas /." São Paulo, 2018. http://hdl.handle.net/11449/153528.
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Orientador(a): Gisela Gomes Pupo Nogueira<br>Banca: Giacomo Bartoloni<br>Banca: Yara Caznok<br>Banca: Alexandre Francischini<br>Banca: Gilson Antunes<br>Resumo: A presente tese discute as contribuições da retórica musical nos processos de transcrição do repertório solista do compositor alemão J. S. Bach (1685-1750) para o violão de onze cordas, no inglês, alto-guitar. Trata-se de uma pesquisa alinhada aos fundamentos da Musicologia Histórica, que resulta em uma série de transcrições, concertos e gravações historicamente orientadas. Entre os referenciais teóricos adotados estão os autores basilares da Musicologia Histórica, como Harnoncourt (1989), Kermann (1987), Yates (2013) e Bartel (1997), além dos autores brasileiros Nogueira (2011), Souto (2015) e Cardoso (2015). Dos aspectos metodológicos, pode-se classificar esta pesquisa como documental, de cunho bibliográfico. No segundo momento, realizou-se uma análise comparativa entre obras barrocas. Este estudo se justifica por contribuir para as discussões acerca do violão de onze cordas, até hoje pouco explorado acadêmica e artisticamente. Podemos citar também a necessidade de ampliação do repertório para este instrumento, além do incremento às possibilidades de pesquisas a respeito do violão de onze cordas. Buscamos com isso aplicar princípios da retórica musical barroca na elaboração de uma performance musical sobre o repertório alemão do século XVIII. O estudo sobre a obra de J. S. Bach, a partir dos elementos retórico-musicais, deram subsídios para melhor compreensão de seus processos composicionais, e à aquisição de ferramentas teóricas norteadoras dos processos de transcrição do repertório barroco. O concerto da defesa de tese apresenta a transcrição para violão de onze cordas da Suite II para Violoncelo de J. S. Bach. A presente pesquisa teve como resultado final a gravação de um CD e de um DVD, nos quais apresento diversas obras barrocas transcritas para violão de onze cordas, sob a perspectiva da performance historicamente orientada<br>Abstract: This thesis discusses the contributions o f musical rhetoric in the transcription processes of the solo repertoire composed by J. S. Bach (1685- 1750) for the eleven-string guitar, or alto- guitar. It is a research based on the grounds of Hi storical Musicology, which results in a series of historically oriented transcriptions, concerts and recordings. Among the theoretical references adopted, we utilized the fundamental authors of His torical Musicology, such as Harnoncourt (1989), Kermann (1987), Yates (2013) and Bartel (1997), bes ides Brazilian authors Nogueira (2011), Souto (2015) and Cardoso (2015). In terms of methodology, one can classify this research as documentary, of bibliographic character. In a secon d moment, we realized a comparative analysis between baroque works. This study is justified by i ts contribution to the discussions about the alto-guitar, until now insufficiently explored acad emically and artistically. We can also cite the nee d to expand the repertoire for this instrument, as we ll as to increase the possibilities for research on alto-guitar. We seek to apply principles of baroque musical rhetoric in the elaboration of a musical performance on the German repertoire of the eightee nth century. The study of the work of J. S. Bach, from the rhetoric-musical elements, gave subs idies for a better understanding of its compositional processes, and the acquisition of the oretical tools guiding the processes of transcription of the baroque repertoire. The thesis defense concert features the transcription for alto-guitar from Cello Suite II by J. S. Bach. The present research resulted in the recording of a CD and a DVD, in which I present several Baroque works transcribed for the alto-guitar, from the perspective of historically oriented performance<br>Doutor
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Hradecká, Michelle. "Schweitzerovo interpretační pojetí varhanních skladeb J. S. Bacha ve srovnání se současnou praxí." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253804.
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This thesis discusses the method of approach of Albert Schweitzer's performance
interpretation of Johann Sebastian Bach's organ compositions and his influence
on contemporary interpretations.
The first part is devoted to the historical context of major milestones in the life of
Albert Schweitzer and a history of interpretation of Johann Sebastian Bach's
works.
The second part of the study analyzes some of the recordings of Albert
Schweitzer and of contemporary interpreters, their distinct interpretive approach
and the registration of individual compositions.
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Brombilla, Marcelo Cazarotto. "O concerto RV 199 de Antonio Vivaldi: uma transcrição para violão segundo os procedimentos utilizados por J. S. Bach no concerto BWV 973." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3485.
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Previous issue date: 2013-04-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This research deals with the realization of a transcription for solo guitar of the RV 199 concerto by Antonio Vivaldi, according to the procedures used by J. S. Bach in his transcription of RV 299, which resulted in the harpsichord concerto BWV 973. We carried out a comparative analysis of Vivaldi’s original RV 299 with the transcription of Bach’s BWV 973; these procedures were applied to a transcription for solo guitar of RV 199, and presented in two ways, a version in two staves and a final version for performance.<br>A presente pesquisa trata da realização de uma transcrição para violão solo do concerto RV 199 de Antonio Vivaldi, segundo os procedimentos utilizados por J. S. Bach na transcrição do concerto RV 299, que resultou no concerto para cravo BWV 973. Procedeu-se uma análise comparativa do original de Vivaldi RV 299 com a transcrição de Bach BWV 973; estes procedimentos foram aplicados na transcrição para violão solo do concerto RV 199 que foi apresentada em duas maneiras, a saber, uma versão em duas pautas e uma versão final de performance em uma pauta.
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Nováková, Denisa. "Cembalo - generálbasový a obligátní nástroj v komorní hudbě J. S. Bacha (se zaměřením na sonáty pro housle a cembalo)." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177795.
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Master's graduatinon thesis Harpsichord-Basso continuo and obligate instrument in chamber music by J.S.Bach (focusing on sonatas for violin and harpsichord) deals mainly with 17th and 18th century. The content of the thesis is divided into three main chapters, which are further divided into sub-chapters, accompanied by footnotes and the note annexex at the end of the thesis.
The first chapter outlines the role of the harpsichord in the play basso continuo. The second chapter deals with the transformation of basso continuo parts to obbligato parts from German authors of the 18th century. The third chapter analyzes the topic of the harpsichord concerto as instruments in the violin sonatas by Bach and explains the Bach Sonata in E Major for obbligato harpsichord and violin (BWV 1016) which I played at the master´s concert. The final chapter is a summary of the previous chapters.
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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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