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Tesi sul tema "Johann sebastian bach"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 27 gennaio 2023

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1

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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2

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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3

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

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4

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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Abstract (sommario):
Thesis (M.M.)--West Virginia University, 2001.
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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5

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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6

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

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7

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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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

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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10

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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11

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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12

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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13

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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14

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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15

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

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16

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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17

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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18

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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19

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

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Abstract (sommario):
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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20

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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21

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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Abstract (sommario):
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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22

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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23

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

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24

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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25

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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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

Cole, Warwick. "The performance of small-note Vorschläge 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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Abstract (sommario):
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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28

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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29

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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30

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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31

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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32

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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Abstract (sommario):
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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33

Cuddeford, Tara. "Performance techniques for selected works of: J.S. Bach, J. Brahms and E. Elgar /". St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16408.pdf.

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34

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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35

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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36

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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37

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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38

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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39

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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Abstract (sommario):
Thesis (D.M.A.)--University of North Texas, 2006.
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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40

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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41

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

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42

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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43

Dequevauviller, Vincent. "Etude sur certains procédés architectoniques, en particulier numériques, dans la composition des oeuvres de Jean-Sébastien Bach". Paris 4, 2003. http://www.theses.fr/2003PA040070.

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Abstract (sommario):
L'objectif de la thèse est analytique : essayer de mettre en valeur des régularités formelles récurrentes dans quelques pièces et cycle de Bach. On observe d'abord que le triple-prélude et la triple-fugue en mi bémol majeur, opposés en apparence, utilisent le même principe de construction : une succession de périodes disposées par paires (quatre paires pour le prélude, trois pour la fugue). En outre, la longueur des périodes (c'est-à-dire leur nombre de mesures) suit des règles arithmétiques rigoureuses, utilisant des catégories particulières de "nombres remarquables" (signatures, miroirs, etc. . . ). La thèse est consacrée à l'étude approfondie de cette technique de construction, à la fois formelle et numérique. On étudie d'autres pièces d'orgue, puis un concerto Brandebourgeois. On étend ensuite aux cycles, qui fonctionnent de la même façon : l'art de la fugue et la Messe en si mineur, si dissemblabes en apparence, sont unies par ds liens cachés. Finalement, les observations permettent de proposer quelques hypothèses générales sur la méthode compositionnelle de Bach
The thesis is analytical : it tries to show some regularities in a few pieces and works of J. S. Bach. It begins with the prelude and fugue in E-flat : these two pieces are built on the same architectural principle : the regular sequence of sections, eight for the prelude, six for the fugue. Besides, the number of bars of the sections seems to be controlled, using for some special categories of numbers (signatures, mirrors, and so one). The thesis tries to find some other exemples in organ works (toccata and fugue in F major, toccata and fugue "the dorian"; prelude and fugue in b minor), the sixth brandenburg concerto, The Art of fugue, the Leipzig Chorals, the Trio Sonatas, the Canonic variations, the Schübler Chorals, the Inventios and Sinfonias. It ends with the mass in b minor. In conclusion, some hypotheses are proposed, about Bach's general compositional method
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44

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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45

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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Abstract (sommario):
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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46

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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Abstract (sommario):
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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47

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

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48

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

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49

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

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50

Alevizos, Konstantinos. "Le concept de matrice dans L'Art de la Fugue de Johann Sebastian Bach". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040033.

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Abstract (sommario):
La thèse veut démontrer que toutes les compositions contenues dans L'Art de la Fugue possèdent entre elles des liaisons strictes et essentielles qui vont au-delà de la simple coprésence et/ou élaboration du même sujet, en créant une unité et une progression de la complexité technique dans son évolution. À travers une analyse détaillée de toutes les fugues sur trois niveaux: rythmique, harmonique et morphologique, notre objectif est d’identifier et de cataloguer tous les éléments spécifiques qui créent cette unité, afin d'arriver à la présentation du système des techniques compositionnelles utilisées par le compositeur. Nous proposons des nouveaux outils analytiques pour la compréhension des problématiques majeures liées à l’œuvre, l’ordonnancement du recueil et sa destination instrumentale
The thesis aims to demonstrate that all the compositions contained in the “Art of Fugue” are bound together by a pattern of tight and essential connections, which go beyond an unstructured co-existence or a simple elaboration of a common subject: they form one unit and are ordered in a sequence of increasing technical complexity.The author makes a detailed analysis of all Fugues at three levels, Rhythm, Harmony and Morphology; he identifies and classifies all elements that create the unit: he presents the method and suite of techniques employed by the composer; finally, he proposes new analytical tools for the comprehension of the main issues related
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