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 chega-se à conclusão que o movimento de música antiga é legítimo, trazendo diversificação para o cenário interpretativo. Para contextualizar a sonata, traço um histórico da música escrita para violino desde o início do século XVII até a gênese dos Sei Solo por volta de 1720. Uma análise é feita de sete gravações diferentes da sonata, quatro modernas e três com violino barroco, e estas são confrontadas com ou comparadas à literatura sobre interpretação dos últimos 300 anos.

A pesquisa teve como objetivo investigar a utilização de guias de execução como estratégia de memorização da Allemande da Partita em Lá menor de J. S. Bach (BWV 1013) para flauta solo. O referencial teórico foi o estudo realizado por Roger Chaffin et. al 2010: Preparing for memorized cello performance: the role of performance cues. A pesquisa foi realizada através de auto-estudo, tendo o próprio autor como sujeito. A coleta de dados foi realizada através de onze sessões de estudo e duas apresentações públicas com registros em áudio e vídeo e diários de estudos. Para verificar a eficácia da memorização, a peça foi escrita de memória após um mês da última apresentação. Como resultado a pesquisa apontou a eficácia da utilização dos guias de execução onde a respiração atuou como um guia estrutural na obra escolhida. A pesquisa destaca a utilização de guias de execução como estratégia para aumentar o controle e eficiência em uma performance de memória. / This research aims to investigate the use of performance cues as a strategy to memorize a solo piece for flute by J. S. Bach (Allemande, BWV 1013). The theoretical framework was the study developed by Roger Chaffin et. al (2010): Preparing for memorized cello performance: the role of performance cues. The qualitative survey was developed through self-study, having the author himself as the subject. The data were collected through eleven study sessions and two public performances recorded on audio and video and registered on study diaries. To verify the efficiency of the memorization, the piece was written a month after the last performance. As a result, the research showed the efficiency the use of performance cues where breathing acted as a structural guide in the chosen piece. This research highlights the use of performance cues as a strategy to enhance control and efficiency in a performance by memory.

A pesquisa teve como objetivo investigar a utilização de guias de execução como estratégia de memorização da Allemande da Partita em Lá menor de J. S. Bach (BWV 1013) para flauta solo. O referencial teórico foi o estudo realizado por Roger Chaffin et. al 2010: Preparing for memorized cello performance: the role of performance cues. A pesquisa foi realizada através de auto-estudo, tendo o próprio autor como sujeito. A coleta de dados foi realizada através de onze sessões de estudo e duas apresentações públicas com registros em áudio e vídeo e diários de estudos. Para verificar a eficácia da memorização, a peça foi escrita de memória após um mês da última apresentação. Como resultado a pesquisa apontou a eficácia da utilização dos guias de execução onde a respiração atuou como um guia estrutural na obra escolhida. A pesquisa destaca a utilização de guias de execução como estratégia para aumentar o controle e eficiência em uma performance de memória. / This research aims to investigate the use of performance cues as a strategy to memorize a solo piece for flute by J. S. Bach (Allemande, BWV 1013). The theoretical framework was the study developed by Roger Chaffin et. al (2010): Preparing for memorized cello performance: the role of performance cues. The qualitative survey was developed through self-study, having the author himself as the subject. The data were collected through eleven study sessions and two public performances recorded on audio and video and registered on study diaries. To verify the efficiency of the memorization, the piece was written a month after the last performance. As a result, the research showed the efficiency the use of performance cues where breathing acted as a structural guide in the chosen piece. This research highlights the use of performance cues as a strategy to enhance control and efficiency in a performance by memory.

The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.

Most studies of the Mass in B Minor deal with the history of the work, its reception history, primary sources, performance practice issues, rhetoric, and even theological and numerical symbolism. However, little research focuses on an in-depth analysis of the music itself. Of the few analytical studies undertaken, to date only a limited number attempt to explain Bach's use of parody technique or unity in the whole composition. This thesis focuses on understanding three primary concerns in regards to the Mass in B minor: to comprehend how preexistent material was adapted to the context of the Mass, how this material functions in the network of the entire composition, and how unity is achieved by means of large-scale voice leading. The results of this study not only provide new information about this monument of Western music, but also provide insight to the deep sense of large-scale structure in Bach's work.

In 1950-51, for the bicentennial of the death of J. S. Bach, Dmitri Shostakovich wrote his collection of Twenty-four Preludes and Fugues, Op. 87. This thesis is a study of the fugal technique of Shostakovich as observed in Op. 87, in light of the fugal style of Bach as observed in The Well-Tempered Clavier, Volume One. Individual analyses of each of the twenty-four Shostakovich pieces yield the conclusion that Op. 87 is an emulation of Bachian fugal methods as observed in The Well-Tempered Clavier, Volume One.

This subject has been chosen by the writer for the purpose of discussing these problems of performance, arising with the composition, the St. Matthew Passion, by J. S. Bach. Since Bach was a German and wrote in that language, the edition used is called the American edition. The performances in America are, with few exceptions, based upon translations which must be accurately edited so as not to obscure Bach's intentions.

One of the outstanding aspects of nineteenth-century romanticism was its preoccupation with the past. This interest in the music or the old masters has lasted well into the twentieth century, and one whose lifetime bridged the two centuries was the composer Max Reger (1873-1916). Reger's admiration for the music of the past pervaded his own works. His preference for contrapuntal textures and devices, his use of baroque forms, his distaste for program music--all bespeak Reger's especial interest in the old masters, particularly in 5. S. Bach. These qualities led some to regard him as the successor of Johannes Brahms, who held similar tenets. Because of his particular interest in composing for the organ, Reger was viewed as a "nineteenth-century Bach."

History shows that Johann Sebastian Bach (1685-1750) was a devout member of the Lutheran faith. Studying Bach’s life reveals that two sects of Lutheranism were the most influential to him, Orthodoxy and Pietism. A brief historical study of these two sects’ founders and their theology are presented in this document. All of Bach’s compositions are a reflection of his Christian beliefs but none is greater than his St. Matthew Passion. Although Bach is known to be a member of the Orthodox denomination, by observing the parallels between the beliefs of the two sects and the St. Matthew Passion, this document reveals Bach to take a more liberal view. This thesis intends to show that Bach’s St. Matthew Passion is a universal piece of Christian music that transcends religious denomination. Ultimately, Bach’s faith was centered on Jesus Christ and His message. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Busoni's contribution to the art of the piano transcription is formidable. His chorale prelude transcriptions make him responsible for giving over to the piano repertoire a small portion of sacred literature. His special admiration of J. S. Bach, evidenced throughout his life, make Busoni's transcriptional practices all the more significant. Bach himself was a prolific transcriber of his own works and the works of others. This paper presents a brief history of keyboard transcriptional practices, emphasizing Busoni's methods by comparing the original works for organ with the transcriptions for piano. Four chorale preludes form the basis for this study: Ich ruf' zu dir, Herr Jesu Christ (BWV 639), Komm, Gott, Schopfer, Heiliger Geist (BWV 667), Nun komm' der Heiden Heiland (BWV 659), and In dir ist Freude (BWV 615).