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Rozprawy doktorskie na temat „1685-1750”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 30 lipca 2024

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1

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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2

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Simpson, Will M. "A conductor's guide to J.S. Bach's Cantata 150 "Nach dir, Herr, verlanget mich"." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1389681.

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Conducting the cantatas of Johann Sebastian Bach can be a challenge of sizeable proportions. A significant part of the challenge arises from interpreting and synthesizing several key elements. These elements must be addressed by the conductor if she or he is to produce an informed performance of the work. Before conducting J.S. Bach's Cantata 150, a conductor must have specific knowledge of the various issues that directly impact the performance of the cantata. These issues include appropriate tempi, performing pitch, dynamics, phrasing and articulation, ornamentation, continuo issues, size an

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12

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,

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13

Freitas, Thiago Colombo de. "Ciaccona em ré menor BWV 1004 de J.S. Bach : um estudo das articulações e uma transcrição para violão." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/4685.

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Este trabalho é uma análise das articulações indicadas por Johann Sebastian Bach (1685-1750) na sua Ciaccona em ré menor - quinto movimento da Partita II para violino solo, BWV 1004 – e uma transcrição desta obra para violão. A questão da interpretação dos sinais de articulação assinalados por Bach é abordada a partir de referenciais teóricos e práticos. São discutidas as tradições de execução e os variados entendimentos atribuídos por estas aos sinais de articulação.

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14

Kreuzkirchgemeinde, Evangelisch-Lutherische. "Johannespassion (2011) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 – 1750), BWV 245: Kreuzkirche Dresden, Sonnabend 2. April 2011 17.00 Uhr." Dresdner Kreuzchor, 2011. https://slub.qucosa.de/id/qucosa%3A71352.

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15

Lee, Jung-Ok. "A study of two organ chorale preludes of Johann Sebastian Bach (1685-1750) transcribed by Wilhelm Kempff (1895-1991)." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2564.

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Wilhelm Kempff was one of the greatest pianists of the twentieth century, and his interpretation of Germanic piano literature has been honored in Europe, Africa, Asia, and America by many distinguished musicians and music-lovers. But perhaps because he was already sixty-nine years old at the time of his American debut in New York in 1964, his reputation as a pianist tends to be disregarded in English speaking nations. Even Alfred Brendel acknowledges in his book Me of All People: "I return again and again to Kempff, becaus

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16

Justi, Katia Regina Kato. "A missa em si menor de Johann Sebastian Bach = a poética e o trágico = Johann Sebastian Bach's B minor mass : poetic and the tragic." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284540.

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Orientador: Paulo Mugayar Kühl<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T02:53:23Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_D.pdf: 3770115 bytes, checksum: 6eb29bd8ac1ceaed915ae65400aadb14 (MD5) Previous issue date: 2013<br>Resumo: A proposta deste trabalho é fazer uma investigação da Missa em Si menor, BWV 232, de Johann Sebastian Bach, seguindo parâmetros que enfoquem alguns procedimentos poéticos e retóricos nela utilizados. Investigando a luz das poéticas clássicas, sobretudo da Poética de Aristóteles, e

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17

Brass, Christophe. "La Basse fondamentale dans le "Clavier bien tempéré" de Johann Sebastien Bach." Université Marc Bloch (Strasbourg) (1971-2008), 2001. http://www.theses.fr/2001STR20032.

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La basse fondamentale, représentation mentale abstraite de la note la plus basse d'un accord parfait, de septième ou de neuvième à l'état fondamental et représentée par la "note fondamentale", n'est pas une invention théorique mais un mode de pensée qui s'est élaboré collectivement et qui prend sa source dans la double réalité mélodique et harmonique de l'intervalle<br>The fundamental bass or abstracted mental representation from the lowest note of a triad in the root position, is represented by the fundamental note

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18

Murphy, Liesel. "A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1023.

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This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designatio

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2001) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: 7. Januar 2001 17 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2001. https://slub.qucosa.de/id/qucosa%3A71322.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2002) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: 6. Januar 2002 17 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2002. https://slub.qucosa.de/id/qucosa%3A71324.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2005) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: 9. Januar 2005 19 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2005. https://slub.qucosa.de/id/qucosa%3A71329.

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Justi, Katia Regina Kato. "O Oboe e a representação da Confiança nas arias das cantatas sacras de J.S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284316.

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Orientador: Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5) Previous issue date: 2007<br>Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundam

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23

Lim, Aesook. "The Long Chorale Preludes of J. S. Bach (1685-1750): Study of Accompaniments together with Three Recitals of Selected Works by Dietrich Buxtehude (1637-1707), J. S. Bach, Louis Vierne (1870-1937), and Others." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5219/.

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Johann Sebastian Bach's chorale preludes are varied and artistic not only in the treatment of chorale melodies, but also in the accompaniments of those chorale melodies. This study examines the accompaniments of Bach's long chorale preludes, focusing on identifying the various types and the characteristics that make them unique. This study investigates the two broad categories of accompaniments depending on whether the motives are chorale-derived or independent of the chorale. While the chorale prelude accompaniments in the first large group are closely related, the accompaniments of the cho

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2006) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonntag 8. Januar 2006 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2006. https://slub.qucosa.de/id/qucosa%3A71332.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2007) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Samstag 06. Januar 2007 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2007. https://slub.qucosa.de/id/qucosa%3A71334.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2008) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonntag 6. Januar 2008 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2008. https://slub.qucosa.de/id/qucosa%3A71336.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2009) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 10. Januar 2009 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2009. https://slub.qucosa.de/id/qucosa%3A71337.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2010) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 09. Januar 2010 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2010. https://slub.qucosa.de/id/qucosa%3A71339.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2011) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 8. Januar 2011 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2011. https://slub.qucosa.de/id/qucosa%3A71341.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2012) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonnabend 7. Januar 2012 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2012. https://slub.qucosa.de/id/qucosa%3A71343.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Weihnachtsoratorium, Kantaten 4-6 (2013) / Dresdner Kreuzchor: Johann Sebastian Bach (1685 - 1750), BWV 248: Sonntag 6. Januar 2013 17.00 Uhr, Kreuzkirche Dresden." Dresdner Kreuzchor, 2013. https://slub.qucosa.de/id/qucosa%3A71345.

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Quinteros, Carmen Veronica School of Sociology &amp Anthropology UNSW. "Creativity, order and discipline." Awarded by:University of New South Wales. School of Sociology and Anthropology, 2004. http://handle.unsw.edu.au/1959.4/20741.

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For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and

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Ambiel, Aurea Helena de Jesus. "Ricercar a 6 de Johann Sebastian Bach e a sua orquestração na fuga (Ricercata) a 6 Voci por Anton Webern : a tecnica Klangfarbenmelodie e a serialização motivico-timbrica." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284279.

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Orientadores: Helena Jank, Hans Joachim Koellreutter<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-02T10:33:22Z (GMT). No. of bitstreams: 1 Ambiel_AureaHelenadeJesus_M.pdf: 13062174 bytes, checksum: e5c389bf8723134a6663a1c95f8dafb6 (MD5) Previous issue date: 2002<br>Resumo: O presente trabalho tem como objeto de estudo as obras Ricercar a 6 ( do Musikalisches Opter) de J. S. Bach e a orquestração desta obra por Anton Webern que se intitula Fuga ( Ricercata ) a 6 voei. O Musikalisches Opfer ( Oterenda Musical) foi comp

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Čechová, Markéta. "Modelové situace a ornamentální kontrapunkt v Dobře temperovaném klavíru I. J. S. Bacha." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-177738.

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The Master thesis named "Model situations and ornamental counterpoint in The Well Tempered Clavier, book 1, by J. S. Bach" deals with the musical language of composers, specially one like J. S. Bach. The first chapters shows historical facts about when the work was written, explains facts about the instrument and tuning. The second chapter explains the method of analysis, which is based on German musical theorists. Thethird chapter explains, what model situations are and their importance for a musician. In the fourth chapter I speak about ornaments in general and which importance they have for

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Nováková, Denisa. "Cembalo - generálbasový a obligátní nástroj v komorní hudbě J. S. Bacha (se zaměřením na sonáty pro housle a cembalo)." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177795.

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Master's graduatinon thesis Harpsichord-Basso continuo and obligate instrument in chamber music by J.S.Bach (focusing on sonatas for violin and harpsichord) deals mainly with 17th and 18th century. The content of the thesis is divided into three main chapters, which are further divided into sub-chapters, accompanied by footnotes and the note annexex at the end of the thesis. The first chapter outlines the role of the harpsichord in the play basso continuo. The second chapter deals with the transformation of basso continuo parts to obbligato parts from German authors of the 18th century. The

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2011) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Kreuzkirche Dresden, Gründonnerstag 21. April 2011 19.00 Uhr, Karfreitag 22. April 2011 16.00 Uhr." Dresdner Kreuzchor, 2011. https://slub.qucosa.de/id/qucosa%3A70885.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2005) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 24. März 2005 19 Uhr, Karfreitag, 25. März 2005 16 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2005. https://slub.qucosa.de/id/qucosa%3A71307.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2006) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 13. April 2006 19.00 Uhr, Karfreitag 14. April 2006 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2006. https://slub.qucosa.de/id/qucosa%3A71308.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2007) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 5. April 2007 19.00 Uhr, Karfreitag 6. April 2007 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2007. https://slub.qucosa.de/id/qucosa%3A71309.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2008) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 20. März 2008 19.00 Uhr, Karfreitag 21. März 2008 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2008. https://slub.qucosa.de/id/qucosa%3A71310.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2009) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 9. April 2009 19.00 Uhr Karfreitag 10. April 2009 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2009. https://slub.qucosa.de/id/qucosa%3A71311.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2010) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 1. April 2010 19.00 Uhr Karfreitag 2. April 2010 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2010. https://slub.qucosa.de/id/qucosa%3A71312.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2012) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 05. April 2012 19.00 Uhr Karfreitag 06. April 2012 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2012. https://slub.qucosa.de/id/qucosa%3A71315.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2014) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): 17. April 2014 Gründonnerstag 19.00 Uhr, 18. April 2014 Karfreitag 16.00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2014. https://slub.qucosa.de/id/qucosa%3A71317.

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Chudý, Vít. "Houslové koncerty J. S. Bacha se zaměřením na stěžejní díla (BWV 1041, 1042, 1043)." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261361.

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The diploma thesis discusses violin concertos and concertante works with violin solo part by Johann Sebastian Bach. The main focus is on three concertos from the „köthen period“ BWV 1041-1043. Out of the formal analysis there is even the interpretation comparation not missing.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2013) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag 28. März 2013 19:00 Uhr Karfreitag 29. März 2013 16:00 Uhr Kreuzkirche Dresden." Dresdner Kreuzchor, 2013. https://slub.qucosa.de/id/qucosa%3A71316.

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Atli, Ellendersen. "Parâmetros interpretativos para a sonata para violino solo em lá menor, BWV 1003 de J. S. Bach." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/27445.

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Resumo: Este trabalho trata de questões de interpretação de música barroca, mais especificamente de parâmetros interpretativos para a Sonata para Violino solo em Lá menor, BWV 1003 de Johann Sebastian Bach. A sonata faz parte de um conjunto de obras que são referência absoluta no repertório para violino e imprescindíveis na formação violinística. O estudo traz um resumo do debate travado no final do século XX sobre o papel do intérprete e sua relação com o texto musical e com o compositor. É apresentada uma síntese da crítica e autocrítica feita da interpretação historicamente informada e che

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2001) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 12. April 2001 19 Uhr, Karfreitag, 13. April 2001 16 Uhr in der Kreuzkirche zu Dresden." Dresdner Kreuzchor, 2001. https://slub.qucosa.de/id/qucosa%3A71303.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2002) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 28. März 2002 19 Uhr, Karfreitag, 29. März 2002 16 Uhr in der Kreuzkirche zu Dresden." Dresdner Kreuzchor, 2002. https://slub.qucosa.de/id/qucosa%3A71304.

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Kreuzkirchgemeinde, Evangelisch-Lutherische. "Matthäuspassion (2003) / Dresdner Kreuzchor: BWV 244, Johann Sebastian Bach (1685-1750): Gründonnerstag, 17. April 2003 19 Uhr, Karfreitag, 18. April 2003 16 Uhr in der Kreuzkirche zu Dresden." Dresdner Kreuzchor, 2003. https://slub.qucosa.de/id/qucosa%3A71305.

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