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Dissertations / Theses on the topic 'Johann Christian Bach'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Pak, Moon-Chung. "Sonata form in the six quintets, opus 11, by Johann Christian Bach." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026704.

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This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.

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2

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

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

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3

Staral, Susanne. "Aufführungspraktische Aspekte im Klavierwerk von Johann Christian Bach, dargestellt an den Sonaten opus V." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38347.

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4

Van, Allen-Russell Ann Renee. "Wind orchestration in the music of Johann Christian Bach, 1762-1782 : studies in structure, form and texture." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426062.

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Johann Christian Bach's orchestration is equal in importance to harmony and melody in defining the structure of a work and plays a significant role in his musical design. The thesis examines orchestration of selected works by 1. C. Bach composed during his years in London, 1762-1782, amongst them symphonic works (including symphonies concertantes), concertos, and vocal works, both songs and arias. An in-depth study of Bach's method of orchestration, especially his use of wind instruments, has not been carried out previously, and a better understanding of the composer's skill will not only demonstrate the ingenuity inherent in Bach's music but also emphasize his influence on, and importance to, English musical life. The discussion of J. C. Bach's approach to orchestration is divided into distinct sections based on, different perspectives. The first of these looks at individual instruments of the composer's time, the types of ensembles in which they are employed and the placement of the instruments within these ensembles, using information gleaned principally from English sources such as instrumental tutors, contemporary comments and extant instruments. The evolution of Bach's individual " treatment of each instrument is also discussed and illuminated by examples from his own works. Subsequently, there is a comparison between Bach's writing for winds and that of contemporaries active in London, in order to provide a larger context within which to view the development of Bach's compositional style, and to explore influences Bach may have had on these composers. Finally, conventions and patterns of Bach's orchestration are examined, including the instrumentation of themes, scoring conventions for different movement types, and the deployment of instruments to articulate musical structure. The relationship between instrumentation and texture is explored through a graphing system designed to compare areas of textural development from different perspectives, such as colour changes used to demarcate structure and winds substituting for excursions in harmony or melody.

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5

Goodchild, Meghan. "Formal structures in the solo keyboard music of J.C. Bach and their influence on Mozart." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112339.

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During his lifetime, Johann Christian Bach (1739--1782) was considered the most famous musician of the Bach family throughout England and Europe. Although his music was highly regarded in the eighteenth century, little scholarly work has been undertaken on the historical and analytical aspects of his compositions. His keyboard compositions are valuable in tracing his musical development since this was the only genre that he wrote throughout his career in Berlin, Milan and London. Previous analyses of Bach's keyboard music have mainly focused on stylistic development, thus neglecting the importance of phrase and larger formal functions.
I adopt William Caplin's theory of formal functions to analyze Bach's solo keyboard sonatas: the Solo in A minor from Berlin (1750--55), three sonatas from the Milan collection (1755), six sonatas from London Op. 5 (1767), and six sonatas from London Op. 17 (1773--4). I demonstrate that Bach gradually refines phrase and thematic functions of the exposition of first-movement sonatas. I examine Bach's use of core technique and subordinate theme-like units in development sections and discuss the reasoning behind different recapitulation strategies. I also compare the sonata forms of the first movement to the second and third movements, and discuss other types of large-scale formal design (theme and variations, minuet and trio, and rondo).
Many sources indicate that Mozart was greatly influenced by Bach, but they remain vague in describing the type and extent of this influence. Building on previous melodic, motivic and stylistic studies, I draw important phrase-structural connections between the music of Bach and Mozart. I discuss the construction of Mozart's early piano pieces (KV 6 through K 284) and demonstrate that he adopts particular phrase-structural and thematic designs similar to pieces from Bach's Op. 5 and 17 collections. Through form functional analysis, I illustrate Bach's development of phrase and thematic structures and provide important phrase-structural evidence of his influence on the music of Mozart.

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6

Bieler, Maria. "Binärer Satz - Sonate - Konzert : Johann Christian Bachs Klaviersonaten op. V im Spiegel barocker Formprinzipien und ihrer Bearbeitung durch Mozart /." Kassel ; Basel ; London : Bärenreiter, 2002. http://catalogue.bnf.fr/ark:/12148/cb39022817f.

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7

Payne, Andrew J. "The Development of the Bassoon Idiom as Seen in Three Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1607082064118953.

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8

Nasritdinova, Heike [Verfasser], and Wolfgang [Akademischer Betreuer] Horn. "Vauxhall Songs. Studien zum sozialen Umfeld und zu den Kompositionen von Johann Christian Bach und seinen Zeitgenossen / Heike Nasritdinova ; Betreuer: Wolfgang Horn." Regensburg : Universitätsbibliothek Regensburg, 2017. http://d-nb.info/1149366575/34.

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9

Lachat, Sarrete Priscille. "L’entrée du soliste dans les concertos de 1750 à 1810, à travers les œuvres de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040052/document.

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Entre 1750 et 1810, l’entrée du soliste dans les premiers mouvements de concerto est un événement théâtral et musical. Examinant le corpus de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven, cette thèse distingue les stratégies compositionnelles récurrentes, constituant la norme de l’époque étudiée. Elle analyse les procédés rhétoriques à l’œuvre en évaluant l’effet produit par chacun par rapport à la norme attendue.La première partie concerne la construction de l’attente du soliste. Elle évalue la fonction introductive du premier tutti, distinguant les « tuttis-cadre » des « tuttis-narratifs » et examinant l’impact de la présence d’une modulation. La deuxième partie étudie les stratégies de clôture de l’exposition orchestrale et l’existence d’une rupture lors de l’entrée du soliste. La troisième partie montre la manière de donner la parole au soliste par le choix de son thème d’entrée, d’une ornementation éventuelle ou l’ajout d’une section introductive virtuose autonome
Between 1750 and 1810, the entry of the soloist in the first movement of a concerto is a musical and theatrical event. Going through the corpus of Johann Christian Bach, Haydn, Mozart, Beethoven, and Viotti, this thesis distinguishes personal strategies from recurring compositional techniques that are standard in the period under review. It analyzes the rhetorical techniques used through assessing the effect of each technique compared to that of the expected standard.The first part concerns the construction of the expectation of the soloist. It evaluates the introductive function of the first tutti, creating a disctinction between “frame-tuttis” and “narrative tuttis”, and examinating the impact of the presence of a modulation. The second part focusses on the closing strategies of the orchestral exposition and the existence of a break for the soloist’s entry. The third part shows the hand over to the soloist through the choice of the entry theme, the eventual ornementation, and the adding of an autonomous virtuoso introductive section

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10

Mathews, Steven D. "Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623241774278313.

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11

Felbick, Lutz. "Lorenz Christoph Mizler de Kolof: Schüler Bachs und pythagoreischer »Apostel der Wolffischen Philosophie«." Georg Olms Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A74425.

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Der in der Bach-Forschung vielfach zitierte Lorenz Christoph Mizler (1711–1778) warf bislang eine Reihe von unbeantworteten Fragen auf. Die umfassende Studie entwirft nun erstmals ein Gesamtbild des Musikwissenschaftlers und Doktors der Philosophie und Medizin. Als Initiator zahlreicher musikwissenschaftlicher Unternehmungen, vor allem mit seiner an der Philosophie Christian Wolffs orientierten 'Correspondierenden Societät der musicalischen Wissenschaften' wurde der Bach-Schüler weit über die Grenzen Leipzigs bekannt. Die Untersuchung orientiert sich an den von Mizler gewählten Selbstzuschreibungen „Pythagoras“ und „Apostel der Wolffischen Philosophie“. Mizlers Zeitschrift 'Musikalische Bibliothek' und seine Schriften zur Musiktheorie sind zweifellos wichtige musikwissenschaftliche Quellen; jenseits dieser legte der Universalgelehrte, vor allem in seinem neuen Wirkungskreis in Polen ab 1743 weitere 150 Schriften vor. Da die Musik dem in den Adel erhobenen Mi(t)zler de Kolof selbst eher als Nebenwerk galt, rückt die zeitgenössische Philosophie der Aufklärung und deren konkrete Anwendung für den Königlich Polnischen Hofrath und Hofmedicus in den Vordergrund. In diesem Kontext wird beispielsweise seine Schrift zum Generalbass mit den Ausführungen zur sogenannten Oktavregel verständlich. Eine gründliche Forschungsarbeit zu dem musikwissenschaftlichen Pionier aus der Zeit des Rationalismus, die seit langem Desiderat war. Weitere Informationen unter www.Mizler.de und www.olms.de/search/Detail.aspx?pr=2007759.

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12

Stigloher, Johannes [Verfasser], and Christian [Akademischer Betreuer] Back. "Reflection and Refraction of Spin Waves / Johannes Stigloher ; Betreuer: Christian Back." Regensburg : Universitätsbibliothek Regensburg, 2018. http://d-nb.info/1173974873/34.

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13

Najjar, Johannes Siegfried Samir [Verfasser], Gunnar S. [Akademischer Betreuer] Bali, Vladimir M. [Akademischer Betreuer] Braun, Christian [Akademischer Betreuer] Back, and Jaroslav [Akademischer Betreuer] Fabian. "Nucleon structure from stochastic estimators / Johannes Siegfried Samir Najjar. Betreuer: Gunnar S. Bali ; Vladimir M. Braun ; Christian Back ; Jaroslav Fabian." Regensburg : Universitätsbibliothek Regensburg, 2014. http://d-nb.info/1058477366/34.

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14

Uphoff, Martin [Verfasser], Johannes [Akademischer Betreuer] Barth, Johannes [Gutachter] Barth, and Christian [Gutachter] Back. "Atomistic Investigations and Control of Novel Quantum Materials: Lanthanide-Organic Nano-Architectures at Well-Defined substrates and the Iron Silicide (110) Facet / Martin Uphoff ; Gutachter: Johannes Barth, Christian Back ; Betreuer: Johannes Barth." München : Universitätsbibliothek der TU München, 2019. http://d-nb.info/1192442040/34.

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15

Peng, Mei-Jung, and 彭美榮. "The London Music Society and the Keyboard Concerto of Johann Christian Bach." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/69442502314892494856.

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碩士
國立中山大學
音樂學系研究所
88
The compositional periods of Johann Christian Bach, the youngest son of J. S. Bach, include Berlin, Italy, and London, and the keyboard concertos were written in Berlin and London. The works written in Berlin period were influenced by his brother, C. P. E. Bach, and the styles of those concertos written in London were created under the musical atmosphere of London society. The thesis is a study of the relationship between the London musical society and keyboard concertos of J. C. Bach. The discussion includes three chapters, in addition to the introduction and conclusion. Chapter one is the general discussions about the composer, the development of solo concerto, and historical background of the keyboard concerto in London. The second chapter focuses on the musical society in London in the second half of the eighteenth century. The third chapter contains detailed discussions of the style differences of the keyboard concertos composed by J. C. Bach between the Berlin and London periods. J. C. Bach was the private music tutor of Queen Charlotte, while traveling in London during 1762 to 1782. At the same time, he also participated in teaching, composing, performing, and organizing public concerts very actively. He wrote three sets of keyboard concertos, opus 1, 7, and 13. Each set includes six concertos, and each of which mainly contains two movements. The style of keyboard works of J. C. Bach are characterized by the pre-classical styles of symmetry and balance of the phrases. The concertos were written mostly for amateurs, and in order to satisfy the necessity of the musical market and teaching, the skill of the solo part was not technical demanding, they were simple. The concertos were composed for both harpsichord and piano, but more intended for the piano instrument, especially opus 7 and 13. The wealth economy, the improvement of manufacture techniques of the keyboard instrument, the prevailing public concerts, and the musical needs for Royal family and amateur musicians in London were the important reasons that effected the stylistic changing of J. C. Bach’s writing of keyboard concertos.

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