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.

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.

Schostakowitsch hat beide Bände des Wohltemperierten Klaviers bereits als 12jähriger gespielt, als er das Klavierspiel bei Ignati Gljasser, einem Schüler von Hans von Bülow, erlernte. So hat ein Petersburger Junge die deutsche Schule kennengelernt. Im Konservatorium studierte Schostakowitsch später das Klavierspiel bei dem hervorragenden Pädagogen Leonid Nikolajew, einem Schüler von Sergei Tanejew. Bei ihm herrschte der Kontrapunkt der strengen Schreibart vor. Nikolajew schenkte den Werken Bachs eine große Aufmerksamkeit.

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.

This thesis is a critical study of three violoncello suites of Johann 8ebastian Bach from the performer's point of view. Its purpose is to determine the comparative differences and similarities of several well known editions including the Bach Gesellschaft edition and the Pablo Casals recording. It will explain a few of the many discrepancies and provide adequate reasons for given suggestions and preferences concerning dynamics, tempi, ornamentation, bowing styles, and other elements of performance. By stating a brief historical background of the evolution of the violoncello and the development of musical form and style, it is possible to conceive Bach's ideas and intentions as he wrote the collection of six suites.

Diss.--Hambourg, 1999. / Notes bibliogr.

Zugl.: Leipzig, Univ., Habil.-Schr., 2008

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