The compositional peculiarities of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 make authoritative performance practice of the same quite difficult. Often, disparate solutions concerning the performance practice thereof, primarily those that concern registration and interpretation of the work, result. Upon discussing the resemblance of BWV 564 in its entirety with that of the genre of the Italian concerto, I assess the precise nature of Italian concerto influence upon the work, assigning primary compositional influence to Tomaso Albinoni, specifically via Johann Gottfried Walther’s transcription of Concerto IV of Albinoni’s Concerto a cinque, Op. 2 of 1700, effectively placing such influence prior to Bach’s c. 1713-1714 encounter with the concerted works of Antonio Vivaldi and thus assigning Bach’s composition of the work to his initial years as court organist and chamber musician at the Weimar ducal chapel. I also assess the resemblance of the sectional character of BWV 564 with that of the early Baroque multisectional Praeludium, exemplified in Dieterich Buxtehude’s Praeludium in A, BuxWV 151, ultimately to assert the rhetorical orientation of BWV 564 and to raise the registration implications thereof. Given the numerous renovations to the Compenius organ in the Weimar ducal chapel that occurred before, during, and after Bach’s tenure as court organist and chamber musician, I set forth a likely specification set for the Compenius organ of the Weimar ducal chapel during the initial years of Bach’s first appointment at Weimar. With the compositional timeframe and physical conditions reasonably established, and on account of both the accompanimental textures and musical idiomatic allusions present in the movement, I advance not only a one-manual performance practice of the Adagio of BWV 564 in its entirety but also a single general registration scheme resonant with continuo performance practices that were contemporaneous with the composition of the work. / text

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing.