Analysis in relation to performance of the six authentic motets of J.S. Bach: Singet dem Herrn ein neues Lied ; Geist hilft unsrer Schwachheit auf ; Fürchte dich nicht ; Jesu, meine Freude ; Komm, Jesu, komm ; Lobet den Herrn, alle Heiden.

Šiame darbe nagrinėjami žmogaus akių judesiai internetinuose puslapiuose. Stengiamasi išsiaiškinti ar puslapio tipas, ar individualus žmogaus veiksniai, nulemia tinklapio peržiuros procesus, kas patraukia dėmesį labiausiai ir ko neneužfiksuoja akis apsilankius pirmą kartą internetiniame puslapyje. Nagrinėjamas sakadinis akių judesių tipas, kai žvilgsnį žmogus perkelia nuo vieno fiksacijos taško į kitą. Naudojamas fiksacijų skaičius, laikas ir ju vidutinės reikšmės. / In this study were researched eyes movements on Internet webpages. The webpage type and individual person actions were researched as an influence on the webpage view processes. Also what attracts attention the most and what objects are not traced by eye visiting the webpage on the first time. Researched sacade type of eye tracking when the look is moving from one fixation point to another. Were researched using fixation number, time and the averages of these values.

Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / 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 / 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 atenção neste trabalho, data de 1725, e aparece nas páginas finais do volume de peças dedicado a sua esposa Anna Magdalena Bach. Intituladas ¿Algumas Regras do Baixo Contínuo¿, são quinze regras para a iniciação ao assunto, com finalidade didática e destinada ao uso imediato de alunos e familiares. O segundo grupo, de 1738, é um trabalho mais robusto e abrangente, resultado dos anos de atividade pedagógica de Bach em Leipzig, e leva o título ¿Preceitos e Princípios para tocar o Baixo Contínuo ou Acompanhamento a Quatro Vozes¿. Para um esclarecimento geral do assunto, recorreu-se a um estudo sobre as origens do baixo contínuo, apresentando um capítulo sobre as suas primeiras fontes históricas. A reflexão sobre o processo prático da execução de baixo contínuo, que foi objetivo principal da pesquisa, deu-se através da elaboração de uma série de exemplos musicais enfocando obras de música de câmara instrumental do compositor, além de uma análise do ¿Largo e Dolce¿, segundo movimento da Sonata em Si menor para flauta e cravo BWV 1030, cuja escrita para o último instrumento é considerada um modelo de realização de baixo contínuo do próprio Bach. O processo culminou na interpretação de obras do compositor de acordo com essas reflexões, e acredita-se que elas contribuam para o entendimento e execução de obras musicais escritas nessa linguagem / Abstract: The present dissertation has, as its main subject, the theoric and pratic aspects of figured bass realization, with a view from J.S.Bach¿s documents about it. The first group of instructions, which one has received special attention in this work, dates from 1725, and belongs to the final pages of Anna Magdalena Bach¿s notebook. ¿Some Rules of Thorough-Bass¿ are fifteen rules for the beginning in the matter, with didactic intentions and destined for his students and family¿s circle. The second group, from 1738, is a bigger and including work, resulting from his years of teaching in Leipzig, entitled ¿Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts¿. A study about the origins of the thorough-bass and its first historical sources is presented as a general understanding about the subject. As a main objective of the research, series of musical examples were developed to reflect about the pratic process of playing thorough-bass. They include works of instrumental chamber music by Bach, besides an analysis of the Largo e Dolce, second movement of the B minor Sonata for flute and harpsichord BWV 1030, in which the harpsichord part is considered a model for figured bass realization. The end of the work comes with the interpretation of the composer¿s music under these reflections, and we believe that they are a contribution for the understanding and execution of musical pieces written under this language / Mestrado / Mestre em Música

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 designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.

This thesis investigates the development of commercial leisure in a northern community, Halifax, over a period of 200 years. It examines a range of leisure pursuits including the public house, theatre and sports and traces their development during a period of population growth and industrialization which came to be based increasingly around the factory. It analyses whether Halifax was typical in the way commercial leisure developed or whether particular local conditions influenced the development of commercial leisure. During the period, Halifax, an ancient town, developed from an important centre of the textile trade in England into a classic Victorian mill town supporting a broad base of industries. Leisure developed from a leisure culture based around traditional holidays and pastimes to a highly commercialized leisure experience increasingly provided by regional and national companies and a sporting calendar that included structured leagues with professional clubs and games played seasonally.

Cette étude a pour objectif de transcrire une sonate (synonyme, en Europe centrale à l’époque, de suite, partie ou partita) pour luth baroque à 11 choeurs de Sylvius Leopold Weiss (1687-1750) pour guitare moderne à 11 cordes et d’analyser la manière dont nous pouvons intégrer et interpréter cette musique sur un instrument moderne. L’adaptation de la musique de Weiss à la guitare à 11 cordes est un sujet original, car cette musique, conçue pour le luth, sera fidèlement respectée en gardant le même accord (contrairement aux transcriptions ordinaires impliquant un changement d’accord). La démarche vise donc à préserver l’intégrité de l’oeuvre par le biais d’une approche soucieuse de respecter l’intention et l’esthétique du compositeur. Ma recherche porte sur les oeuvres de Weiss composées entre 1717 et 1719 pour luth à 11 choeurs (Lundberg, 2001). La Sonate no 1 du Manuscrit de Londres est sélectionnée ici, car elle représente bien les divers aspects du travail de Weiss et on peut y voir tous les éléments clés de sa musique (Cardin, 2005). Ainsi, mes analyses commencent par les bases de la transcription de la musique pour luth sur la guitare à 11 cordes, elles se développent ensuite par des sujets plus complexes comme les ressources stylistiques et se terminent avec les pratiques ornementales de rigueur à cette époque. L’ornementation est l’ajout final dans l’interprétation de cette musique baroque. Elle fait appel à l’imagination et aux connaissances stylistiques, harmoniques et contrapuntiques de l’interprète.

Note sur les annexes : 8 fichiers en format m4a présentant l'interprétation de pièces de luth à la guitare / Cette recherche se concentre sur la transcription des sonates de la période de maturité de Sylvius Leopold Weiss (1687-1750), écrites originellement pour le luth baroque à 13 chœurs, afin de les adapter à la guitare moderne à 6 cordes. L'objectif principal est d'analyser comment intégrer et interpréter cette musique sur un instrument contemporain. Deux caractéristiques majeures se dégagent de ces œuvres : le niveau technique requis et la structure des mouvements, annonçant des éléments du classicisme à venir. Ces éléments évoluent à partir d'un contexte baroque vers des traits caractéristiques du classicisme naissant. Le projet de recherche vise spécifiquement la transcription d'œuvres de la maturité de Weiss, en mettant l'accent sur des aspects tels que le style du compositeur, les ornementations et d'autres éléments distinctifs. Son but principal est de trouver des solutions pour transcrire avec succès les œuvres du compositeur pour la guitare, un instrument qui diffère considérablement de celui utilisé dans la culture musicale de ce compositeur allemand. / This research focuses on transcribing the sonatas from the mature period of Sylvius Leopold Weiss (1687-1750), originally written for the 13-course baroque lute, to adapt them for the modern 6-string guitar. The primary objective is to analyze how to integrate and interpret this music on a contemporary instrument. Two major characteristics emerge from these works: the required technical level and the structure of the movements, foreshadowing elements of the forthcoming classicism. These elements evolve from a Baroque context towards characteristics of emerging classicism. This research project specifically aims at transcribing Weiss's mature works, focusing on aspects such as the composer's style, ornamentation, and other distinctive elements. Its main goal is to find successful solutions for transcribing the composer's works to the guitar, an instrument that differs considerably from that used in the musical culture of this German composer.

Seward Hiltner has written that 'to a greater degree than in any other theological discipline, we lack in pastoral theology a sense of identification with our pastoral roots and heritage. This situation demands that we inquire into some significant orders of shepherding data from the past as well as from the present. My desire to understand the image and practice of the pastoral ministry in history and my interest in the heritage of Presbyterianism was heightened by the quadricentennial of the Scottish Reformation, which was being observed when I considered beginning research in church history. After the Very Rev. Principal Emeritus Hugh Watt suggested reading about Scottish pastors in the eighteenth century, I realized that there was an opportunity to explore the thought of men whose conception of the ministry influenced and was like that of Scotsmen, such John Witherspoon, who contributed much to the establishment and growth of the United Presbyterian Church in the U.S.A., of which I am a minister.

The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.

The Chorale Cantatas by Johann Sebastian Bach are outstanding examples of his ingenuity. The existing data on the Chorale Cantatas are distributed throughout numerous volumes by many scholars. They have written much about the cantatas in general but not so much specifically about the chorales in them. In this thesis, the emphasis is on the chorales and Bach's treatment of them in the Chorale Cantatas. An historical approach to the cantata and the chorale is given as a preliminary to the treatment of the chorale in the chorale cantata. This was done that the reader might have a better understanding of them. The necessary material for this thesis was gathered from dictionaries, music lexicons, books, articles and the music principally in the Bach-gesellschaft edition. The material is organized according to the following plan: 1. The Church Cantata and its origin; the development of the Church Cantata in Germany; the use of the cantata in the worship service. 2. The Chorale, its origin and development; its changes as a result of the Reformation; its use in church services, and its use in musical composition. 3. Bach's treatment of the Chorale in musical forms. 4. Bach's treatment of the words of the Chorales in the Chorale Cantatas.