Thesis (M.A.)--Boston University

Historical keyboard instruments have for many years been a valuable source of information regarding historical building techniques and performance practices. However, almost no attention has been paid to the evidence of wear present on these instruments. This physical trace documents the form in which an instrument has been used throughout time. Of particular interest is the evidence of wear found on the surface of the keys. An analysis of this physical trace might provide insight into a number of aspects which have defined the manner in which performers have approached their instruments. A survey of historical keyboard playing practices will help to visualise in a broader form the mechanical reasons behind the impact of the fingers on the surface of the key. However, it is important to consider that while the process behind the appearance of a trace of wear is primarily of a mechanical nature, the fact that both instrument and the performer‘s body are cultural objects calls for an examination of a number of issues which seem to influence the form in which the mechanical action is applied. Two important routes are thus taken in this study before the trace of wear is examined. First, a number of uses of the hand and the fingers seem to have originated in the interaction between the performer and the earliest keyboard designs that the medieval organ displayed. An analysis of these uses served as a starting point for the study here of a number of playing practices which remained in currency for long periods. Second, the forms in which the instrument is built and the body operates at it are the result of the socio-cultural and historico-geographical conditions in which both are submerged. Particular attention is thus given here to the potential effect the performer‘s socio-cultural background had on the mechanical action he or she was to use when performing. An experimental clavichord, whose tops were designed to reveal patterns of abrasion more rapidly than those commonly used to cover the keys, was used to aid in an examination of the particular effect of the fingers on the surface of the key. In this form, specific information concerning the various stages of the abrasion caused by the finger‘s contact with the surface of the keys could be gathered. The worn keys of this instrument also provided a much needed reference point to which historical traces of wear could be compared. This helped to establish a number of potential finger actions that might have been responsible for the traces of wear on some historical instruments. A reconstruction of J.S. Bach‘s playing approach was adopted for playing on the experimental clavichord. At the same time, a number of socio-cultural aspects which might have defined Bach‘s approach to the instrument were explored. In this form, a broader picture could be offered which is not limited to an understanding of the most likely mechanical causes behind the origin of the trace of wear.

This thesis deals with a set of compositions by C. P.E. Bach, referred to as "The Last Fourteen Rondos". Thirteen of these are contained in the collections of sonatas, fantasias and rondos for connoisseurs and music lovers. The fourteenth is a separate work, entitled "The Farewell From a Silbermann Clavier in the Form of a Rondo". After establishing the background and the history of these rondos, the thesis then proceeds to a detailed analysis of the various compositional aspects. First, it tries to explain the overall design of the rondos, a design which differs from that normally associated with rondo form. It then deals with the structure of the thematic material and shows Bach's preference for phrase parallelism and a relatively simple melodic and harmonic outline of the various subjects. Special chapters are devoted to the manner in which C.P.E. Bach treats the musical substance, namely, by means of Variation and by systematic development. A short chapter is then devoted to the fantasia sections, which are included into most of the rondos. It is in the field of harmony where C.P.E. Bach emerges as a most important forerunner of nineteenth century musical trends and, consequently, some detailed analyses form a major portion of the chapter dealing with harmony. Special attention is then given to the various aspects of C.P.E. Bach's style and, in particular, to the pianistic · traits. The thesis ends with a brief survey of the influence which C.P.E. Bach exerted on his contemporaries and on later composers.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Ciências da Saúde. Programa de Pós-Graduação em Enfermagem. / Made available in DSpace on 2012-10-20T10:26:22Z (GMT). No. of bitstreams: 1 199174.pdf: 2853451 bytes, checksum: e9aaa985f5d50553258437b1b718b619 (MD5) / Este estudo teve como objetivo investigar a relevância do cuidado de Enfermagem com visão holográfica, incluindo a aplicação dos florais de Bach em idosas com depressão, usando o referencial de Enfermagem de Betty Neuman. Foi utilizada uma metodologia qualitativa com abordagem analítica e analógica. A técnica da abordagem foi o estudo de casos, aplicando-se a entrevista semi- estruturada e a escala de Beck - Depression Inventory - BDI, para semi-quantificar a depressão. Foi feito análise estatística das médias dos BDIs. O diagnóstico de depressão foi baseado no DSM IV, feito por uma geriatra, que também fez a avaliação desses casos após o período estipulado de tratamento (20 semanas). As idosas participavam das sessões de terapia de grupo, realizadas por uma psicóloga. As voluntárias foram 13 idosas, acima de 60 anos, em depressão, assistidas no Centro de Reabilitação de Idosos Damásio Barbosa de Franca - João Pessoa - Paraíba, no período de julho de 2002 a fevereiro de 2003. Os dados foram colhidos através das respostas dos questionários. Entre as informações foram identificados os estressores, os fenômenos de Enfermagem, segundo a Classificação Internacional da Prática de Enfermagem (CIPE) - versão ALFA, e as metas a serem trabalhadas através da terapia floral de Bach. Os fenômenos de Enfermagem ligados aos estressores intrapessoais mais freqüentes foram: depressão; dificuldade para dormir; isolamento social; tristeza; desesperança; falta de apetite; ansiedade; culpa; medo; insônia; fadiga; baixa auto-estima; interação social prejudicada; sono intermitente; déficit nutricional. Dentre os ligados aos estressores intra e interpessoal associados, destacaram-se: falta de apetite; culpa; distúrbio do relacionamento familiar; insônia; crenças de valores; processo familiar alterado; interação social prejudicada. Dos ligados aos estressores intra, inter e extrapessoais perceberam-se: distúrbio no relacionamento familiar; interação social limitada. Percebeu-se que os estressores que mais contribuíram para a depressão em idosos estavam ligados aos intrapessoais, fossem eles associados ou não a outros estressores. A intervenção da enfermagem foi à prescrição dos florais de Bach. Pode-se concluir que o cuidado de Enfermagem com visão holográfica, incluindo a aplicação dos florais de Bach, em idosas com depressão, contribuiu para a redução significante dos estressores nessas pacientes. Assim, a sua aplicabilidade é possível uma vez que a teoria escolhida trabalha com os estressores, sendo esses harmonizados através da terapia floral de Bach, que atua nas causas dos desconfortos, equilibrando o indivíduo e devolvendo-lhe a saúde.

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.

abstract: This creative project provides an adaptation of J. S. Bach’s Goldberg Variations, BWV 988, for the Fritts Organ at Arizona State University. This organ was designed and built by Paul Fritts and Co. in 1992, and is in the style of the high-Baroque instruments of Northern Europe. Along with the musical score of the adaptation, this document discusses the registration choices included as well as relevant historical and performance practice details about the piece. A link to the recording of the author’s April 2017 performance of this edition of the Goldberg Variations on the ASU Fritts Organ is included with the project. / Dissertation/Thesis / Doctoral Dissertation Music 2017

abstract: The study and performance of J.S. Bach’s music has long been essential for every string musician. A transcription of the Flute Partita in A minor, BWV 1013, is an excellent addition to the double bass repertoire. This paper includes a performance guide that discusses the technical and musical considerations of each movement, and a new transcription for double bass. Chapter 1 introduces the goals of the paper. Chapter 2 is an overview of the transcription that covers the reasoning behind the bowings, fingerings, note alterations, ornamentation, articulation, and interpretation included in the transcription. Chapters 3 through 6 discuss these technical and musical elements in the context of each movement of the Partita. There are two other transcriptions of this piece for double bass, both of which take a different approach to transcribing the music of Bach. The transcription includes two different versions of the Partita: a version with bowings and note alterations, and a second version that also includes fingering suggestions. The bowings are based on Bach’s manuscript of the Violin Partitas in order to accurately recreate bowings that Bach would have written. The suggested fingerings serve as guidance for bassists who study this piece and are included separately to acknowledge that there are other fingering possibilities. / Dissertation/Thesis / Doctoral Dissertation Music 2018

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.

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 beginning of the nineteenth century; areas such as the Ancient and Modern discourse; the interest in historicism; the attraction of German culture; the love for Handel; and the notion of the sublime (especially in terms of music) are discussed. In Chapter 2, Bach is seen through the activities of his proponents in the first part of the nineteenth century, both performers and writers. Since it will be shown that it was on the backs of the choral and organ music that Bach entered into English musical consciousness, the reception of those genres is considered in the following two chapters, with a particular focus on the St Matthew Passion and the Mass in B Minor in the area of choral music (Chapter 3). In Chapter 4 I consider Bach and the English organ, and the activities of Mendelssohn, Gauntlett, and those others who were his advocates in the first half of the century after Wesley. Finally, I summarise the topic by looking at the ways his music was interpreted to fit the ideal so nineteenth-century English culture, and how he was regarded through an English lens.

Graduate / 0413