Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. This study will explore in some detail how Bach transforms these solo keyboard pieces into a three movement concerto for three concertino instruments and ripieno. As is the case with most of Bach's instrumental works, the question of where BWV 1044 fits within the chronology of Bach's works is unclear. This paper will attempt a reliable date of composition for this concerto by combining a variety of methods including source study and comparative formal analysis. / Arts, Faculty of / Music, School of / Graduate

Orientador: Paulo Mugayar Kühl / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / 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 / 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 apoiando-se nas teorias musicais alemãs propostas pelos autores da Musica Poetica, pretende-se verificar a presença de alguns aspectos do pensamento aristotélico na criação artística de Bach. Através dos estudos que envolvem a visão filosófica, retórica e musical no processo de criação musical alemã do séc. XVIII este trabalho examina uma possível aproximação entre a tragédia grega, principal gênero poético, e a missa católica, cujo grande exemplo trágico-religioso-musical pode ser encontrado na Missa em Si menor / Abstract: This dissertation analyses J. S. Bach's Mass in B minor, BWV 232, according to some poetical and rhetorical parameters. Through classical poetics, especially Aristotle's Poetics, and supported by German theorists of Musica Poetica, the purpose of this research is to verify the presence of some aspects of Aristotelian thought in Bach's artistic creation. Studies that involve philosophy, rhetoric and music in the German process of musical creation during the eighteenth century, this study investigates a possible approach between Greek tragedy, the main poetic genre, and Catholic Mass: the great tragic, religious and musical example can be found in the Mass in B Minor / Doutorado / Fundamentos Teoricos / Doutora em Música

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 chorale preludes in the second group stand independently and illustrate the vast range of Bach's compositional skill. Both groups demonstrate Bach's interest in expanding his predecessors' models, a trait that can be traced throughout all of Bach's compositional history.

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The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J. S. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. This comparison is made on the basis of a comprehensive analysis of the fugal expositions both collections of fugues mentioned ( The Well-Tempered by Bach and the Ludus Tonalis by Hindemith). Chapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. An emphasis is placed on a comparison of Bach's fugal writing with that of his immediate predecessors (composers of the seventeenth and early eighteenth centuries who were writing in the fugal style) and on a comparison Of Hindemith's theory of tonality, as expressed in The Craft of Musical Composition, with that of the traditional harmonic concept of Bach's day. Chapter II deals with the evolution of the fugal concept. In this chapter, imitative forms of composition which gradually evolved toward the fugue are traced from their very early beginnings through the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the fugal form that Bach used and on Hindemith's neo-Baroque approach to fugal writing in the twentieth century. In Chapters III and IV, analyses are made of the expositions in the forty-eight fugues of Bach's Well-Tempered Clavier and Hindemith's Ludus Tonalis .There is a discussion of the number of voices, order of entries", order of statements of the theme, key relationships, and redundant entries. Also discussed In these chapters are the beginning and ending notes of the Subject, a change in tonality of the subject range and length of the subjects. There is, further, a discussion of the real and tonal answers and the reasons for the use of a tonal answer, recurring countersubject, invertible counterpoint, interludes, length of the exposition, and the cadences at the end of the fugue expositions. in Chapter V the fugal writing of Bach, as demonstrated in the fugue expositions of The Well-Tempered Clavier, and that of Hindemith, as demonstrated in the fugue expositions of the Ludus Tonalis, are compared. This comparison of these two styles of fugal writing shows the two composers' techniques and procedures to be very much alike except in Hindemith's expanded concept of tonality. Although Bach's set of fugues has set a standard for this type of writing, Hindemith has shown that this old form is still capable of being used with originality when adapted to twentieth-century practices.

O objeto desse trabalho é a atuação dos agentes mercantis, ligados ao comércio de remédios, na cidade do Rio de Janeiro no final do século XVIII e início do XIX. Figuras centrais no abastecimento de medicamentos para Minas Gerais tiveram um papel de intermediários no que diz respeito as práticas médicas. A pesquisa desses homens revelou o universo dos remédios consumidos e a utilização e aplicação dos mesmos até as mudanças estruturadas com a chegada da Família Real / The main object of this study are the market agents and them activities, related to trade remedies, in Rio de Janeiro at the end of the eighteenth century and beginning of the nineteenth century, those traders are central figures in the supply of medicines for Minas Gerais had a role as intermediary with regard to medical practices; The research of these men revealed the universe of drugs and its applications until the structural changes with the arrival of the Royal Family.

L’objet de ce travail est l’étude de la peinture au Karnataka depuis l’école de Vijayanāgar jusqu’à celle de Mysore, du XVIème au XIXème siècle. Nous avons tenté de réunir le corpus le plus large possible afin d’avoir une vision globale de l’art du Karnataka à travers ses peintures murales, ses manuscrits illustrés et ses images mobiles.Notre objectif était de mieux comprendre l’évolution de la peinture au Karnataka durant les trois cents ans qui séparent l’école de Vijayanāgar de celle de Mysore. Les seuls vestiges de l’école de peinture de Vijayanāgar se trouvent dans les peintures murales des temples Vīrabhadra de Lēpākṣī et celles du temple Virūpākṣa de Hampi. Nous présentons ces deux sanctuaires avant d’aborder l’école de peinture de Mysore et son iconographie, qui doit son rayonnement au roi Kṛṣṇarāja Woḍeyar III. A la même époque naissait aussi l’école de Surpur, inconnue jusqu’à aujourd’hui. Deux collections non publiées de miniatures provenant de Mysore et de Surpur nous ont permis de mieux comprendre l’évolution de ces écoles. La thèse prend aussi en compte d’autres développements spécifiques de l’art du Karnataka. Nous présentons en particulier les peintures murales du palais d’été de Tipu Sultan, qui se démarquent nettement des autres réalisations contemporaines, et des manuscrits d’un type original, nommés Uddharane, destinés à l’instruction des dévots adeptes du courant vīraśaiva. / The aim of this work is to study the paintings of Karnataka from the school of Vijayanagar to that of Mysore. It covers the period from the XVIth to the XIXth century. Our goal was to better understand the evolution of painting in Karnataka during the three hundred years that separate both schools. The only remains of the Vijayanāgar School of Painting can be found in the murals of the Vīrabhadra Temples of Lēpākṣī and those of the Virūpākṣa Temple in Hampi. We discuss these two temples before evoking the school of painting of Mysore through its murals, manuscripts and miniatures. This school is closely connected to King Kṛṣṇarāja Woḍeyar III. Contemporarily to the school of Mysore appeared the school of Surpur, unknown until now. Two unpublished collections of miniatures from Mysore and Surpur have allowed us to better understand the evolution of these schools. Other pictorial achievements present specific developments in the art of Karnataka. We present the mural paintings of Tipu Sultan's summer palace, which stands out clearly from the previous era, as well as the Uddharane manuscript intended for the teaching of the devotees.We have tried to bring together in this work the widest possible corpus of murals, manuscripts and miniatures in order to have a global vision of painting in Karnataka.

O objeto desse trabalho é a atuação dos agentes mercantis, ligados ao comércio de remédios, na cidade do Rio de Janeiro no final do século XVIII e início do XIX. Figuras centrais no abastecimento de medicamentos para Minas Gerais tiveram um papel de intermediários no que diz respeito as práticas médicas. A pesquisa desses homens revelou o universo dos remédios consumidos e a utilização e aplicação dos mesmos até as mudanças estruturadas com a chegada da Família Real / The main object of this study are the market agents and them activities, related to trade remedies, in Rio de Janeiro at the end of the eighteenth century and beginning of the nineteenth century, those traders are central figures in the supply of medicines for Minas Gerais had a role as intermediary with regard to medical practices; The research of these men revealed the universe of drugs and its applications until the structural changes with the arrival of the Royal Family.

Thesis (MMus) -- University of Stellenbosch , 2005. / ENGLISH ABSTRACT: In his lifetime Reger was under constant pressure to prove his musical abilities as a composer. With their subjective opinions numerous critics systematically damaged his reputation. In this thesis the focus will be on the Bach- Variations op. 81, a work that probably contributed mostly to the extensive polemic around Reger's style, but also a work that shows his uniqueness and importance as a composer. Op. 81 is a large-scale work that, in my opinion, is unfairly underestimated. This may be due to the fact that it has not yet gained its rightful place in the repertoire. The purpose of my study is to make a positive contribution that hopefully can lead to greater appreciation of Reger and his music. The thesis starts by shedding light on Reger's complex personality and overall living circumstances, as well as on the situation of composition in the early 20th century. It partly consists of a shortened biography, followed by a commentary on the Bach- Variations. Finally a comparison is made between the autograph of op. 81, the printed proof copy (1904), the first edition in 1904, and the Complete Works edition of 1959. / AFRIKAANSE OPSOMMING: In sy eie lewe moes Reger deurgaans veg sodat sy musiek deur die publiek aanvaar kon word. Kritici het met hul subjektiewe menings redelike skade berokken, wat die ontwikkeling van sy reputasie as komponis bemoeilik het. In hierdie tesis word daar gefokus op Reger se Bach- Variasies op. 81, 'n werk wat miskien meer as enige andere bygedra het tot die groot polemiek rondom Reger se styl, maar ook 'n werk wat sy uniekheid en waardigheid as komponis sou bewerkstellig. Op. 81 is 'n grootskaalse werk, wat volgens my mening onderskat word. Miskien is dit weens die feit dat dit nie genoeg bekendheid verwerf het tot op hede nie. Die doel van my studie is dus om 'n positiewe bydrae te maak wat hopelik kan lei tot groter waardering vir Reger en sy musiek. Die tesis begin deur lig te werp op Reger se komplekse persoonlikheid en algemene lewensomstandighede, asook op die stand van komposisie in die vroee jare van die 20ste eeu. Dit bestaan dus deels uit 'n verkorte biografie, gevolg deur 'n bespreking van die Bach- Variasies. Ten slotte word daar 'n vergelyking getref tussen die op. 81-outograaf, die gedrukte proefkopie (1904), die eerste druk in 1904, en die volledige uitgawe van 1959.

Since the nineteenth century the Two Part Inventions have become standard repertoire for piano students. However, piano teachers have often failed to give serious consideration to the suitable selection of Inventions for study. Piano students have commonly formed a dislike for Bach's piano music because of an ungratifying initial experience. There is little material written in English dealing with the Two Part Inventions. Those studies of the Inventions which do exist consist mainly of brief articles in periodicals and limited discussions in piano literature books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the Two Part Inventions. In addition, it was felt that an analysis of the problems in each piece and a subsequent graded list of the Inventions would be a step toward a more intelligent and more knowledgeable approach in the teaching of these compositions.