Gotowe bibliografie tematyczne / 1685-1750

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  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek

Gotowa bibliografia na temat „1685-1750”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "1685-1750"

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Hammond, B. "Review: Aaron Hill: The Muses' Projector, 1685-1750." Review of English Studies 55, no. 222 (November 1, 2004): 800–802. http://dx.doi.org/10.1093/res/55.222.800.

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Combe, K. "Review: Aaron Hill: The Muses' Projector 1685-1750." Notes and Queries 52, no. 1 (March 1, 2005): 126–27. http://dx.doi.org/10.1093/notesj/gji164.

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Melton, Frank T., and Priscilla Scott Cady. "The English Royal Messengers Service 1685-1750: An Institutional Study." Albion: A Quarterly Journal Concerned with British Studies 33, no. 1 (2001): 117. http://dx.doi.org/10.2307/4053076.

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Weitzman, Arthur. "Aaron Hill: The Muses’s Projector, 1685–1750 by Christine Gerrard." Scriblerian and the Kit-Cats 37, no. 1 (2004): 93. http://dx.doi.org/10.1353/scb.2004.0055.

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Wang, Wenhui. "Exploring Bach's "Musical Game" World Analysis of Bach's "Goldberg Variations"." Communications in Humanities Research 23, no. 1 (December 20, 2023): 89–95. http://dx.doi.org/10.54254/2753-7064/23/20230731.

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Johann Sebastian Bach (1685 March 21st 1750 July 28th), born in Eisenach, Thuringia, Germany, was a German composer and keyboard player of the Baroque period. This paper focuses on the musical analysis of Bachs Goldberg Variations to explore Bachs musical game world from four aspects: historical background, counterpoint and fugue, musical analysis of Goldberg Variations, and the essence of Bachs musical games. It aims to provide valuable insights for relevant researchers.
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Sousa, Natanael Martins de, and Marcos da Silva Maia. "Uma digitação do Prelúdio da Suíte para Alaúde BWV 997 de J. S. Bach transcrito para o violão." Per Musi, no. 32 (December 2015): 394–419. http://dx.doi.org/10.1590/permusi2015b3215.

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Resumo:Este trabalho apresenta uma digitação violonística para transcrições do prelúdio da Suíte BWV 997, original para alaúde, de Johann Sebastian Bach (1685-1750). Os aspectos musicais abordados para fundamentar a digitação foram divididos e classificados em motivo, melodia polifônica, contraponto, arpejo e homogeneidade tímbrica. O cotejamento foi aplicado como modelo de análise, em algumas transcrições para violão dessa obra, nas quais foram verificadas digitações diversificadas e notações distintas quanto à representação de alguns valores rítmicos e de determinadas alturas.
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Luth, Jan R. "Troost in de cantates van Johann Sebastian Bach (1685-1750): Een verkenning." NTT Journal for Theology and the Study of Religion 68, no. 1 (February 18, 2014): 67–82. http://dx.doi.org/10.5117/ntt2014.68.067.luth.

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Tot op heden is nog geen onderzoek gedaan naar de manier waarop het begrip “troost” wordt gebruikt in de cantates van Johann Sebastian Bach (1685-1750). Dit artikel is de neerslag van een verkennend onderzoek naar de betekenis van “troost” in samenhang met dood en sterven. Omdat Bach in een traditie stond waarin de tekst met muzikale middelen werd uitgelegd, wordt ook onderzocht op welke manier hij dit woord muzikaal behandelt. Het woord “troost” komt vaak in vocaal-instrumentale werken van Bach voor, maar meestal niet in samenhang met de dood. Daarnaast zijn er cantates die troost willen bied
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Wheeler, D., R. Garcia-Herrera, C. W. Wilkinson, and C. Ward. "Atmospheric circulation and storminess derived from Royal Navy logbooks: 1685 to 1750." Climatic Change 101, no. 1-2 (October 3, 2009): 257–80. http://dx.doi.org/10.1007/s10584-009-9732-x.

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Caiceo Escudero, Jaime. "Desarrollo agrícola y artesanal en la Hacienda Calera de Tango de los Jesuitas: Siglos XVII y XVIII." Diálogos 27, no. 1 (May 17, 2023): 87–106. http://dx.doi.org/10.4025/dialogos.v27i1.62659.

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Entre 1593 y 1767, los jesuitas promovieron el desarrollo agrícola e industrial en el Chile central; para ello adquirieron la Hacienda Calera de Tango en 1685. Esta hacienda tenía unas minas de cal en el cerro Lonquén, lo cual le interesó a los nuevos propietarios por la explotación minera. En 1748 llegaron jesuitas alemanes, quienes instalaron talleres de artes manuales, transformando el lugar en un importante centro artístico e industrial. Instalaron, además, una viña y una bodega con avanzada tecnología en 1750. Para regar construyeron canales para sacar agua desde el río Maipo; ello ayudó
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Wheeler, D., R. Garcia-Herrera, C. W. Wilkinson, and C. Ward. "Erratum to: Atmospheric circulation and storminess derived from Royal Navy logbooks: 1685 to 1750." Climatic Change 103, no. 3-4 (October 17, 2009): 617. http://dx.doi.org/10.1007/s10584-009-9755-3.

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Rozprawy doktorskie na temat "1685-1750"

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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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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
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Stone, Harold Samuel. "Vico's cultural history : the production and transmission of ideas in Naples, 1685-1750 /." Leiden : E. J. Brill, 1997. http://catalogue.bnf.fr/ark:/12148/cb40939661p.

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Du, Plooy Jacobus Stephanus. "The role of the cadence as determining factor of phrasing of the organ toccatas, preludes and fantasias of Johann Sebastian Bach." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002301.

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This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore,
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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 pr
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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
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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 Rosa_StellaJocelinaAlmeida_M.pdf: 8868389 bytes, checksum: c5eca93c5b6405115e9d07d8b3208c78 (MD5) 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
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Pardee, Katharine. "Perceptions of J.S. Bach and performance of his music in nineteenth-century England." Thesis, University of Oxford, 2013. https://ora.ox.ac.uk/objects/uuid:b45e576e-b727-4afa-b7e8-f55bea10b1a1.

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At the turn of the nineteenth centudy knowledge of J.S. Bach was limited in England to a very few musicians, mostly German organists connected with the Hanoverian court. By the close fof the century, Bach had won widespread popularity, and England was second only to Germany in numbers of published editions, performances, and the written word. This thesis looks at the reception of J.S. Bach in nineteenth-century England, and considers why England reacted with such enthusiasm to his works. First. the elements important to Bach reception are explored and situated in English culture at the beginni
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Jank, Helena 1939. "J.S.Bach variações "Goldberg" : um guia para a formação do homem completo." [s.n.], 1988. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284302.

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Orientador : Ubiratan D'Ambrosio<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-16T06:07:50Z (GMT). No. of bitstreams: 1 Jank_Helena_D.pdf: 5322088 bytes, checksum: c52e699aa7b30c81f97e4e9944a10c30 (MD5) Previous issue date: 1988<br>Resumo: Dentre muitas formas possíveis de abordagem para esta obra monumental de J. S. Bach, o presente trabalho traz um enfoque eminentemente humanístico, através do qual transparece a intenção do compositor de estruturar, na forma de tema e variações um ?guia para a formação do homem completo?
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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 auj
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Leite, Zilei de Oliveira. "Applications of Reductive Analytical Techniques in the Phrygian Settings of the Orgelbüchlein by J.S. Bach." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279049/.

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This study aims to two problematic aspects of the Phrygian mode: a. the development of a harmonic pattern at the cadence that differs from that of the other modes and of the major and minor modes as well; b. the observation that the Phrygian scale inverts all of the intervallic properties of the Major scale. The result of these two observations is that when the reductive techniques of Heinrich Schenker are applied in the Phrygian repertory, melodic and harmonic properties are brought into conflict with each other. However, application of alternative models of the Ursatz developed by Lori Burns
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Książki na temat "1685-1750"

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Bachelart, M. Ohain (Nord): Naissances (1685-1750), mariages (1685-1750), sépultures (1718-1750). Wambrechies: Groupement généalogique de la Région du Nord, 1993.

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Vernon, Roland. Introducing Bach. London: Belitha, 1995.

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1685-1750, Bach Johann Sebastian, American Philosophical Society, and Basically Bach Festival of Philadelphia (1985), eds. The Universal Bach: Lectures celebrating the tercentenary of Bach's birthday, fall 1985. Philadelphia: American Philosophical Society, 1986.

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Gregory, Butler, ed. J.S. Bach's concerted ensemble music, The ouverture. Urbana: University of Illinois Press, 2007.

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Malcolm, Boyd, and Butt John, eds. J.S. Bach. Oxford: Oxford University Press, 1999.

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1788-1858, Mosewius Johann Theodor, and Heinemann Michael 1959-, eds. Johann Sebastian Bachs Matthäus-Passion: Musikalisch-ästhetisch dargestellt ; Johann Sebastian Bach in seinen Kirchen-Kantaten und Choralgesängen : mit Musikbeilagen. Hildesheim: Olms, 2001.

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Butt, John. Bach, Mass in B minor. New York, NY: Cambridge University Press, 1996.

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Butt, John. Bach: Mass in B Minor. Cambridge, MA: Cambridge University Press, 1991.

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Dreyfus, Laurence. Bach's continuo group: Players and practices in his vocal works. Cambridge, Mass: Harvard University Press, 1987.

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Dieter, Schnebel, and Bachfest der Neuen Bachgesellschaft (67th : 1992 : Braunschweig, Germany), eds. Bach und die Moderne. Wiesbaden: Harrassowitz, 1995.

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Części książek na temat "1685-1750"

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Otte, Andreas. "Johann Sebastian Bach (1685–1750)." In Famous Composers – Diseases Reloaded, 23–63. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06671-9_2.

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"Johann Sebastian Bach (1685–1750)." In The Classical Music Lover's Companion to Orchestral Music, 1–18. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-002.

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Sautter, Udo. "Johann Sebastian Bach (1685–1750)." In Die 101 wichtigsten Personen der Weltgeschichte, 65. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-65.

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"Johann Sebastian Bach (1685–1750)." In Accompanied Voices, 19–25. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-015.

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"2.4 Johann Sebastian Bach (1685–1750): Mystik und Musik." In Evangelische Mystik, 83–112. Göttingen: Vandenhoeck & Ruprecht, 2015. http://dx.doi.org/10.13109/9783666570414.83.

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Alwes, Chester L. "The Choral Music of Johann Sebastian Bach (1685–1750)." In A History of Western Choral Music, Volume 1, 281–316. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780195177428.003.0010.

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"Life and Works 1685–1750 ROBI N A. LEAv ER." In The Routledge Research Companion to Johann Sebastian Bach, 513–66. New York, NY: Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315452814-35.

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"Fear and the Making of a Huguenot Identity (1685–1750)." In Fear and the Shaping of Early American Societies, 226–42. BRILL, 2016. http://dx.doi.org/10.1163/9789004314740_012.

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Steinberg, Michael. "Johann Sebastian Bach." In Choral Masterworks, 16–44. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195126440.003.0003.

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Abstract Johann Sebastian Bach was born in Eisenach, Thuringia, on 21 March 1685 and died in Leipzig, Saxony, on 28 July 1750. The BWV numbers refer to Wolfgang Schmieder’s catalogue of Bach’s works, published in 1950. Schmieder was as retiring as one imagines librarians and archivists to be, and he did not want the items in the catalogue he spent years making referred to by S-numbers, comparable to the K-numbers associated with Ludwig Köchel’s Mozart catalogue; he recommended instead the use of BWV for Bach Werke Verzeichnis (Catalogue of Bach’s Works). Schmieder’s catalogue is arranged by categories rather than chronologically; thus his numbers tell us nothing about when a given work was composed. This is just as well, given the extensive revisions in Bach chronology that were made not long after the publication of the catalogue.
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Johann Sebastian Bach (1685-1750) [Rediscovery And Influence; Compositional Method As Shown In Rearrangements]." In The Classics of Music, 318–26. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0053.

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Abstract The rediscovery of Bach’s choral music dates from the boyhood of Mendelssohn, who at 12 years of age read the autograph of the Matthew Passion in the Royal Library at Berlin, and never rested until he had given a private performance of it, the first since Bach’s death. In England the revival began still earlier, by the performances and publications of Wesley and Crotch. (In 1850, a century after his death, a society was started for the correct publication of all Bach’s remaining works.) Robert Franz, the song-writer, arranged some of Bach’s finest works for modern performance: a valuable service so long as the scholarship of the rediscovered art was in its infancy, but now superseded by the realization of Bach’s own methods.
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