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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.

Conducting the cantatas of Johann Sebastian Bach can be a challenge of sizeable proportions. A significant part of the challenge arises from interpreting and synthesizing several key elements. These elements must be addressed by the conductor if she or he is to produce an informed performance of the work. Before conducting J.S. Bach's Cantata 150, a conductor must have specific knowledge of the various issues that directly impact the performance of the cantata. These issues include appropriate tempi, performing pitch, dynamics, phrasing and articulation, ornamentation, continuo issues, size and sonority of ensemble, historical background, text painting and period instrument factors. This dissertation provides the conductor with a practical and functional guide that addresses the many interpretative elements and provides answers to several specific questions about Cantata 150, aiding the conductor in making critical decisions about preparing and performing this cantata. Divided into three main sections, including a performance practice chapter, a theoretical analysis chapter and a synthesis chapter, this practical manual analyzes and examines the cantata from a performer's point of view. A selected Discography is included. / School of Music

The Master thesis named "Model situations and ornamental counterpoint in The Well Tempered Clavier, book 1, by J. S. Bach" deals with the musical language of composers, specially one like J. S. Bach. The first chapters shows historical facts about when the work was written, explains facts about the instrument and tuning. The second chapter explains the method of analysis, which is based on German musical theorists. Thethird chapter explains, what model situations are and their importance for a musician. In the fourth chapter I speak about ornaments in general and which importance they have for a musician, who is specialized on Baroque music. the fifth chapter deals with the prelude and his history, the sixth chapter deals with the fugue, and explains the process of composing. In the seventh chapter I analýze a fex compositions from the Well Tempered Clavier, book 1, to show different kinds of preludes and fugues in detail.

Master's graduatinon thesis Harpsichord-Basso continuo and obligate instrument in chamber music by J.S.Bach (focusing on sonatas for violin and harpsichord) deals mainly with 17th and 18th century. The content of the thesis is divided into three main chapters, which are further divided into sub-chapters, accompanied by footnotes and the note annexex at the end of the thesis. The first chapter outlines the role of the harpsichord in the play basso continuo. The second chapter deals with the transformation of basso continuo parts to obbligato parts from German authors of the 18th century. The third chapter analyzes the topic of the harpsichord concerto as instruments in the violin sonatas by Bach and explains the Bach Sonata in E Major for obbligato harpsichord and violin (BWV 1016) which I played at the master´s concert. The final chapter is a summary of the previous chapters.

Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5) Previous issue date: 2007 / Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundamentos e sua grande influência na música. Procuramos fazer, nos diversos períodos da vida de Bach, um levantamento de todas as árias compostas para oboé, com especial ênfase nas árias compostas para um instrumento obbligato. Avaliamos também a grande importância das doutrinas da Musica Poetica e da retórica na vida e no pensamento musical alemão e como essas doutrinas influenciaram as composições de Bach. Finalmente buscamos traçar relações entre os aspectos retórico-musicais e a utilização do oboé obbligato nas árias sacras com os afetos da confiança e do temor / Abstract: This work aims at investigating, from a rhetoric point of view, the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. Treating the different periods of Bach's life, we tried to gather all of his arias composed for the oboe, with special emphasis in the arias composed for an obbligato instrument. We also evaluated the great importance of the doctrines of Musica Poetica and of life rhetorics to the musical German thought. We also evaluated how these doctrines influenced Bach's compositions. Finally, we tried to trace the relationships between the rethorical musical aspects and the use of the obbligato oboe in the sacred arias with the affects of trust and fear / Mestrado / Mestre em Música

Orientadores: Eduardo Ostergren, Helena Jank / A biblioteca do IA possui CD-ROOM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T12:23:17Z (GMT). No. of bitstreams: 1 Oliveira_AndreLuizMuniz_M.pdf: 3697968 bytes, checksum: b2630a8d738d384047dcc4955e4c62ff (MD5) Previous issue date: 2002 / Resumo: O presente trabalho constitui-se de um estudo do Magnificat em Ré Maior de Johann Sebastian Bach à luz de seu significado retórico. A pesquisa teórica aborda o contexto histórico-musical e a estruturação interna da peça, notadamente no que tange ao uso de figuras de retórica musica. Aspectos de grafia dos andamentos da articulação são apresentados em consonância com as práticas musicais existentes à época de composição da obra. Uma vez observados os artificios composicionais e interpretativos, conclui-se que a intenção de Bach era intensificara a veemência de palavras como: Louvar, humildage, soberba e misericórdia. Estes aspectos estão em conformidade com a visão teológica da igreja luterana e o intérprete poderá valer-se dos mesmos para conceber sua Ínterpretação / Abstract: The present work consists of a study of the Magnificat in D Major of Johann Sebastian Bach to the light of its rhetorical emphasis. The theoretical research approaches the historic-musical context and the internal construction of the piece, especially as regards with the use of musical figures. Aspects of tempo and articulation are presented according to the musical practices in the Baroque Period. Once observed these compositional and interpretative procedures, one reachs the conclusion that Bach's intention was the intensification of vehement words such as: praise; humility, pride; and mercy. The aspects are in accordance with the theological view of the Lutheran church and the performer can refer to them to conceive his own interpretation / Mestrado / Mestre em Artes

Orientadores: Helena Jank, Hans Joachim Koellreutter / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T10:33:22Z (GMT). No. of bitstreams: 1 Ambiel_AureaHelenadeJesus_M.pdf: 13062174 bytes, checksum: e5c389bf8723134a6663a1c95f8dafb6 (MD5) Previous issue date: 2002 / Resumo: O presente trabalho tem como objeto de estudo as obras Ricercar a 6 ( do Musikalisches Opter) de J. S. Bach e a orquestração desta obra por Anton Webern que se intitula Fuga ( Ricercata ) a 6 voei. O Musikalisches Opfer ( Oterenda Musical) foi composto em 1747 e a orquestração por Webern data de 1934 - 1935. Através de uma análise comparada procura-se demonstrar quais são os procedimentos utilizados pelo compositor ao explorar os recursos técnicos do estilo contrapontístico e do orquestrador através da técnica Klangtarbenmelodie e da serialização motívicotímbrica. Estabelece-se assim uma correlação de elementos do passado barroco e do presente weberniano assegurados pelo princípio de repetição que estabelece relações coerentes entre os elementos da obra / Abstract: Not informed. / Mestrado / Mestre em Artes

Please read the abstract in the section, 00front, of this document / Dissertation (M Mus (Performing Art))--University of Pretoria, 2008. / Music / MMus / unrestricted

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