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).

This thesis discusses the method of approach of Albert Schweitzer's performance interpretation of Johann Sebastian Bach's organ compositions and his influence on contemporary interpretations. The first part is devoted to the historical context of major milestones in the life of Albert Schweitzer and a history of interpretation of Johann Sebastian Bach's works. The second part of the study analyzes some of the recordings of Albert Schweitzer and of contemporary interpreters, their distinct interpretive approach and the registration of individual compositions.

Modernist accounts of artistic integrity often required artists to alienate audiences. In some senses, the relationship between artists and audiences never recovered, and arts organizations today struggle to overcome the hostility. The alienation had roots in two applications of Hegelian philosophy. First, modernists viewed bourgeois audiences as needing a new consciousness of their place in history. Second, artists could only bring this consciousness about by posing an antithesis to bourgeois culture, accomplished by abstraction, or removal from established aesthetic norms. In music and painting, abstraction became an important mark of seriousness, while audiences were alienated by it. J. S. Bach’s “Chaconne” for solo violin offers a model for reconciling artist and audience. Bach used a well-established dance form to lead an audience through many levels of abstraction that are both pleasing and challenging. A different account of artistic integrity and a more nuanced view of abstraction can reframe the relationship between artist and audience.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Paul Schoenfeld (b. 1947) is considered one of the major American composers of the present day to have incorporated many different styles in his music. Although Schoenfeld primarily uses a combination of folk, popular music, klezmer, and jazz in most of his compositions, he has also incorporated other distinctive musical styles in his works, such as neo-Baroque, particularly in his Partita for Violin and Piano (2002). The purpose of this dissertation is to explore the eclectic combination of neo-Baroque and klezmer elements found in Schoenfeld's Partita. This research provides a detailed comparative analysis of his work with Johann Sebastian Bach's Clavier-Übung I, BWV 825–830, and 6 Sei Solo a Violino senza Basso accompagnato, BWV 1001–1006, primarily to see how Schoenfeld made use of Baroque forms, imitative passages, rhythms, and other stylistic features, then fused them with klezmer elements. Klezmer is a genre of music stemming from the Eastern European Jewish tradition; its distinctive characteristics are modal scales and Hasidic vocal ornaments. Knowing the mixture of Baroque and klezmer stylistic influences should help performers to interpret the piece.

Titre de l'écran-titre (visionné le 13 décembre 2023) / Pour les interprètes de musique ancienne, les danses baroques sont comme une famille et des voisins ; où que vous alliez, vous trouverez l'une d'entre elles, dans des suites, des sonates, des ballets, des opéras, et même des cantates et des oratorios, sous des noms et des formes variés. Comprendre des aspects essentiels comme le tempo, l'articulation et le phrasé dans la musique de danse baroque nécessite des informations d'interprétation. Grâce aux efforts des chorégraphes contemporains pour faire revivre les danses des XVIIe et XVIIIe siècles, des informations relativement détaillées sur les pratiques d'interprétation de ces danses ont été obtenues. Ce projet vise à générer de nouvelles idées pour l'interprétation du répertoire de clavecin par le biais d'une étude artistique qui intègre de multiples méthodologies. Celles-ci comprennent l'étude des traités baroques, l'analyse de la notation des danses baroques, la pratique de ces danses et l'étude comparative de la notation de danse et la notation musicale. La validité des résultats de la recherche a été estimée par la pratique, à la fois en tant que danseur et en tant que musicien accompagnant des danseurs, utilisant ainsi la pratique comme outil de recherche. En outre, de nombreuses nouvelles idées d'interprétation ont été découvertes au cours du processus de pratique. / For the early music performers, baroque dances are like family and neighbours; wherever you go, one of them will be found, in suites, sonatas, ballets, operas, and even cantatas and oratorios, with various names and forms. Understanding essential aspects like tempo, articulation, and phrasing in baroque dance music requires interpretive information. Thanks to the efforts of contemporary choreographers to revive the 17th and 18th-century dances, relatively detailed information on the performance practice of these dances has been obtained. This project aims to generate new ideas for interpreting the harpsichord repertoire through an artistic study incorporating multiple methodologies. These include the study of baroque treatises, the analysis of baroque dance notation, the practice of baroque dances, and the comparative study of baroque dance notation and music. The validity of the research findings has been judged through practical application, both as a dancer and as a musician accompanying dancers, effectively using practice as a research tool. Furthermore, numerous new interpretive ideas have been discovered during the practice process.

It is the purpose of this thesis to determine the comparative differences and similarities of the accompanied violin sonatas of the two contemporary eighteenth-century composers, Johann Sebastian Bach and George Frederick Handel.

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