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Dissertations / Theses on the topic 'Magnificats (Bach, Johann Sebastian)'

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Published: 12 December 2022

Last updated: 28 January 2023

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1

Oliveira, Andre Luiz Muniz. "O Magnificat de Johann Sebastian Bach : uma interpretação a luz do seu significado retorico musical." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284123.

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Orientadores: Eduardo Ostergren, Helena Jank<br>A biblioteca do IA possui CD-ROOM<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-02T12:23:17Z (GMT). No. of bitstreams: 1 Oliveira_AndreLuizMuniz_M.pdf: 3697968 bytes, checksum: b2630a8d738d384047dcc4955e4c62ff (MD5) Previous issue date: 2002<br>Resumo: O presente trabalho constitui-se de um estudo do Magnificat em Ré Maior de Johann Sebastian Bach à luz de seu significado retórico. A pesquisa teórica aborda o contexto histórico-musical e a estruturação interna da peça, notadamente no que tange ao uso de figuras de retórica musica. Aspectos de grafia dos andamentos da articulação são apresentados em consonância com as práticas musicais existentes à época de composição da obra. Uma vez observados os artificios composicionais e interpretativos, conclui-se que a intenção de Bach era intensificara a veemência de palavras como: Louvar, humildage, soberba e misericórdia. Estes aspectos estão em conformidade com a visão teológica da igreja luterana e o intérprete poderá valer-se dos mesmos para conceber sua Ínterpretação<br>Abstract: The present work consists of a study of the Magnificat in D Major of Johann Sebastian Bach to the light of its rhetorical emphasis. The theoretical research approaches the historic-musical context and the internal construction of the piece, especially as regards with the use of musical figures. Aspects of tempo and articulation are presented according to the musical practices in the Baroque Period. Once observed these compositional and interpretative procedures, one reachs the conclusion that Bach's intention was the intensification of vehement words such as: praise; humility, pride; and mercy. The aspects are in accordance with the theological view of the Lutheran church and the performer can refer to them to conceive his own interpretation<br>Mestrado<br>Mestre em Artes

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2

Beisswenger, Kirsten. "Johann Sebastian Bachs Notenbibliothek /." Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35518086m.

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3

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

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4

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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5

Chung, Erin H. "The Well-tempered clavier by J.S. Bach : a performance guide to twelve selected preludes and fugues arranged in order of ascending difficulty /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11280.

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6

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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7

Elbon, Virginia Elizabeth. "Symmetry and proportion generative and formative procedures of J.S. Bach's Brandenburg concerto no. 3 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1961.

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Thesis (M.M.)--West Virginia University, 2001.<br>Title from document title page. Document formatted into pages; contains vii, 33 p. : music, ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 31-32).

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8

Kempen, Suzanne van. "Bach - musikpädagogisch betrachtet." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/996278222/04.

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9

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

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10

Matyl, Ulrich. "Die Choralbearbeitungen der Schüler Johann Sebastian Bachs /." Kassel ; Basel ; London : Bärenreiter, 1995. http://catalogue.bnf.fr/ark:/12148/cb36959513p.

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11

Sackmann, Dominik. "Bach und Corelli : Studien zu Bachs Rezeption von Corellis Violinsonaten op. 5 unter besonderer Berücksichtigung der "Passagio-Orgelchoräle" und der langsamen Konzertsätze /." München ; Salzburg : Katzbichler, 2000. http://catalogue.bnf.fr/ark:/12148/cb37120125j.

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12

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

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13

Chentowa, Sofia. "Bach und Schostakowitsch." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-224605.

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Schostakowitsch hat beide Bände des Wohltemperierten Klaviers bereits als 12jähriger gespielt, als er das Klavierspiel bei Ignati Gljasser, einem Schüler von Hans von Bülow, erlernte. So hat ein Petersburger Junge die deutsche Schule kennengelernt. Im Konservatorium studierte Schostakowitsch später das Klavierspiel bei dem hervorragenden Pädagogen Leonid Nikolajew, einem Schüler von Sergei Tanejew. Bei ihm herrschte der Kontrapunkt der strengen Schreibart vor. Nikolajew schenkte den Werken Bachs eine große Aufmerksamkeit.

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14

Säfström, Lovisa. "Cellosvit nr 1 av J.S. Bach." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2082.

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15

Sandberger, Wolfgang. "Das Bach-Bild Phlipp Spittas : ein Beitrag zur Geschichte der Bach-Rezeption im 19. Jahrhundert /." Stuttgart : F. Steiner, 1997. http://catalogue.bnf.fr/ark:/12148/cb35869634t.

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16

Ngo, Nightingale. "From the Baroque to the Classical: The Organ Works and Contributions of W. F. Bach, C. P. E. Bach, J. C. Bach, and J. Krebs." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/187.

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Johann Sebastian Bach is considered the foremost organist and composer of organ music of his time. His vast knowledge of the instrument and his ability to reveal the organ?s brilliance were unparalleled, taking the organ to its peak in the Baroque era. Bach perfected many musical styles and forms of the day, and also became well-known for his improvisational skills. However, by the end of Bach?s life, the styles and forms began to change. The forms Bach knew so well slowly gave way to new ideas, signaling the beginning of what music historians label the ?Classical? period. It was during this time that the popularity of the organ began to decline. Bach?s children left behind their father?s musical styles to try new, emerging styles. Although several did continue to compose for the organ, they composed mainly for other keyboard instruments or orchestras. In the middle of the eighteenth century, the Enlightenment changed not only the role of the church, but also people?s view of the church as well. Liturgical changes were made and the organ was viewed as part of the old style. Orchestras replaced the organ and, for the most part, organists either improvised or took a step back from their duties. However, the decline of organ music in the classical period did not equate to its complete disappearance. Bach?s compositions lost favor with the general public after his death, and his successors were left to carry on his legacy and the art of the organ. While Bach?s contributions to the organ world are vast and well-documented, the works of his successors are less familiar. This thesis will focus primarily on the organ repertoire of Bach?s successors during the period of change, the Pre-Classical period. The contributions of Bach?s best-known pupil, Johann Krebs, have been well documented, and research on Krebs is the starting point for this thesis. Research on Bach?s children and his other pupils is available, but one would be hard-pressed to find more than one or two articles of any length on their individual contributions. This thesis will attempt to combine the research on Bach?s sons and students, and reveal their contributions to organ literature as a bridge between Baroque and Classical periods. The first chapter will discuss Bach?s keyboard contributions, as well as styles prevalent in the Pre-Classical period. The second through fourth chapters will discuss Bach?s sons ? Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christian, respectively. The fifth and sixth chapters will include Johann Ludwig Krebs and Bach?s last two pupils. Research for this thesis primarily relies on books and scholarly articles about the Bach family and organ literature of the time period. Databases such as JStor, WorldCat, and the New Grove Dictionary of Music and Musicians have been used to locate articles and recent findings. Research on this particular subject is not adequately covered in English. Most are written in Bach?s native language, German, with very few translated into the English language. This thesis covers both German and English articles, books, and journals on the topic.

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17

Heinemann, Michael. "Die Bach-Rezeption von Franz Liszt /." Köln : Studio, 1995. http://catalogue.bnf.fr/ark:/12148/cb357825583.

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18

Boresch, Hans-Werner. "Besetzung und Instrumentation : Studien zur kompositorischen Praxis Johann Sebastian Bachs /." Kassel ; Basel ; London : Bärenreiter, 1993. http://catalogue.bnf.fr/ark:/12148/cb35642932h.

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19

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

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20

Turnbull, Catherine. "Performing the Bach cello suites on the viola /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19293.pdf.

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21

Fanselau, Clemens. "Mehrstimmigkeit in J.S. Bachs Werken für Melodieinstrumente ohne Begleitung /." Sinzig : Studio, 2000. http://catalogue.bnf.fr/ark:/12148/cb39996123d.

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22

Zwetzschke, Jana. ""...ich bin sicher, dass ich ihn lieben lerne..." : Studien zur Bach-Rezeption in Russland /." Hildesheim : G. Olms, 2008. http://catalogue.bnf.fr/ark:/12148/cb41430472w.

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23

Green, Curtis A. "A comparison of selected editions of Bach's Suite no. 5 in C minor, BWV 1011." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/822.

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24

Klingfors, Gunno. "Bach går igen : källkritiska studier i JS Bachs uppförandepraxis /." Göteborg : Göteborgs universitet, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955876f.

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25

Chentowa, Sofia. "Bach und Schostakowitsch." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 85-98, 1999. https://ul.qucosa.de/id/qucosa%3A15627.

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Schostakowitsch hat beide Bände des Wohltemperierten Klaviers bereits als 12jähriger gespielt, als er das Klavierspiel bei Ignati Gljasser, einem Schüler von Hans von Bülow, erlernte. So hat ein Petersburger Junge die deutsche Schule kennengelernt. Im Konservatorium studierte Schostakowitsch später das Klavierspiel bei dem hervorragenden Pädagogen Leonid Nikolajew, einem Schüler von Sergei Tanejew. Bei ihm herrschte der Kontrapunkt der strengen Schreibart vor. Nikolajew schenkte den Werken Bachs eine große Aufmerksamkeit.

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26

Hiemke, Sven. "Die Bach-Rezeption Charles-Marie Widors /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1994. http://catalogue.bnf.fr/ark:/12148/cb35730222r.

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27

Teuber, Richard. "Die Bach-Rezeption im frühen Instrumentalwerk Paul Hindemiths /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37218777b.

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28

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

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29

Noyer, Jérémie. "L'utopie liturgique : la "Missa en si mineur" de Johann Sebastian Bach." Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10077.

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La missa en si mineur de bach pose un certain nombre de problemes lies tant a notre situation actuelle qu'a son site natif. L'absence d'activation de cette oeuvre dans toutes les situations qu'elle a rencontrees jusqu'ici, au profit de la messe en si, nous invite vraiment a l'interroger. Interroger tout d'abord sa tres faible activation dans les interpositions de toutes les couches stratigraphiques qu'elle a rencontrees, a l'interieur une demarche recursive ou a rebours, veritable demarche de recherche, et interroger cette oeuvre dans son actualite, dans toutes les dimensions qu'elle revet aujourd'hui, qu'elle a revetues et qui, toutes, participent de son identite actuelle. On s'apercevra que toutes ces dimensions participent d'une ideologie autour de la missa, et les limites de cette ideologie permettront d'entrevoir des elements d'utopie dans la nature-meme de cette oeuvre, souhaitee par bach comme une utopie liturgique, ainsi que dans notre perception actuelle de l'oeuvre musicale liturgique, qui, de par sa nature particuliere, demande une approche adequate, afin d'en produire une lecture satisfaisante qui la respecte en tant que musique, discours theologique et liturgie.

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30

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

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

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31

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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32

Bertling, Rebekka. "Das Arioso und das ariose Accompagnato im Vokalwerk Johann Sebastian Bachs /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb355394673.

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33

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

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34

Jokic, Natasa. "Flute partita a-minor BWV 1013 : arrangement for guitar." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-60.

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35

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

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

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36

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

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37

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

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38

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

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39

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

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40

Loy, Felix. "Die Bach-Rezeption in den Oratorien von Mendelssohn Bartholdy /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb390343063.

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41

Cantoni, Angelo. "La référence à Bach dans les oeuvres néo-classiques de Stravinsky /." Hildesheim ; Zürich ; New York : G. Olms, 1998. http://catalogue.bnf.fr/ark:/12148/cb369686566.

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42

Budde, Elmar. "Webern und Bach." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37209.

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43

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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44

Geck, Martin. "Bach und der Pietismus." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36642.

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45

Lim, Aesook. "The long chorale preludes of J.S. Bach (1685-1750) study of accompaniments, together with three recitals of selected work by Dietrich Buxtehude (1637-1707), J.S. Bach, and Louis Vierne (1870-1937) and others /." connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/May2006/lim%5Faesook/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 15, 1999, July 16, 2001, Apr. 29, 2005, and Nov. 17, 2005. Includes bibliographical references (p. 36-37).

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46

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

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47

Person, Gretchen E. "The expression of joy." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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48

Cantoni, Angelo. "La référence à Bach dans les oeuvres néo-classiques de Stravinsky : sa fonction dans le renouvellement stylistique du compositeur /." Tours : [A. Cantoni], 1994. http://catalogue.bnf.fr/ark:/12148/cb401156670.

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49

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

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50

Diamandi, Saviana. "Johann Sebastian Bach, der Architekt. Betrachtungen über die Vielfalt in den ”Englischen Suiten”." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38306.

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