Several late eighteenth-century keyboard composers indicated that some of their works were written specifically for the clavichord, as opposed to the harpsichord or pianoforte. This demand was indicated by a composer's commentary, remarks made by a contemporary, or by Bebung and Tragen der Tone indications in the music. The thesis examines selected works of C.P.E. Bach, Johann Eckard, Nathanael Gruner, Johann Hassler, Christian Neefe, F.S. Sander, and Daniel Tt*rk, and discusses elements of the music that seem particularly suited to clavichord performance. These elements are Bebung, Tragen der TOne, finely nuanced dynamic indications, certain types of melodic writing, and a thin textural composition.

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The twenty- five surviving signed clavichords by the Hamburg makers Hieronymus and Johann Hass, covering a period of approximately forty years from 1728 to 1767, represent one of the pinnacles of musical instrument manufacture. From a study of twenty-two of these instruments a number of important clavichord design principles and constructional techniques has been determined. For instance it was found that the construction of the case joints, rack and 8ft bridge were undertaken with the aid of a template, whilst the bridge pins, tuning pins and hitchpins were positioned using a calibrated stick held perpendicular to the spine. By plotting the pin positions it has been possible to determine the method used by Hass (father and son) to space the pins in various multiples of the Hamburg Zoll or inch. Thanks to the family's habit of dating their instruments the evolution of their working methods can be discerned; in general the dimensions of the later instruments of both makers are greater than those of the earlier instruments, but remain in the same proportion. Bridge shape, rack-slot spacing and pin positioning also vary from Instrument to instrument, not because of any haphazard approach to construction but rather as the result of an intentional modification and evolution of clavichord design during the making of a large number of instruments. This research has enabled a positive identification of a clavichord in Koping, Sweden, (where the signature and date are no longer legible) as being the work of Hieronymus Hass. The techniques developed for this study can be used in the investigation of other clavichord builders and their work.

Historical keyboard instruments have for many years been a valuable source of information regarding historical building techniques and performance practices. However, almost no attention has been paid to the evidence of wear present on these instruments. This physical trace documents the form in which an instrument has been used throughout time. Of particular interest is the evidence of wear found on the surface of the keys. An analysis of this physical trace might provide insight into a number of aspects which have defined the manner in which performers have approached their instruments. A survey of historical keyboard playing practices will help to visualise in a broader form the mechanical reasons behind the impact of the fingers on the surface of the key. However, it is important to consider that while the process behind the appearance of a trace of wear is primarily of a mechanical nature, the fact that both instrument and the performer‘s body are cultural objects calls for an examination of a number of issues which seem to influence the form in which the mechanical action is applied. Two important routes are thus taken in this study before the trace of wear is examined. First, a number of uses of the hand and the fingers seem to have originated in the interaction between the performer and the earliest keyboard designs that the medieval organ displayed. An analysis of these uses served as a starting point for the study here of a number of playing practices which remained in currency for long periods. Second, the forms in which the instrument is built and the body operates at it are the result of the socio-cultural and historico-geographical conditions in which both are submerged. Particular attention is thus given here to the potential effect the performer‘s socio-cultural background had on the mechanical action he or she was to use when performing. An experimental clavichord, whose tops were designed to reveal patterns of abrasion more rapidly than those commonly used to cover the keys, was used to aid in an examination of the particular effect of the fingers on the surface of the key. In this form, specific information concerning the various stages of the abrasion caused by the finger‘s contact with the surface of the keys could be gathered. The worn keys of this instrument also provided a much needed reference point to which historical traces of wear could be compared. This helped to establish a number of potential finger actions that might have been responsible for the traces of wear on some historical instruments. A reconstruction of J.S. Bach‘s playing approach was adopted for playing on the experimental clavichord. At the same time, a number of socio-cultural aspects which might have defined Bach‘s approach to the instrument were explored. In this form, a broader picture could be offered which is not limited to an understanding of the most likely mechanical causes behind the origin of the trace of wear.

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

The hypothesis of this study entails the formulation of interpretative solutions for J. S. Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title, strives to provide a synthesis in which the cognitive understanding of the music can contribute to a more informed aesthetic interpretation of the music. In the ensuing study this objective is realised by examining the origin of the work and the sources from which it was handed down, the style in which the Capriccio was composed and conceived, the performance practices prevalent in the early eighteenth century and the applicability thereof to the music of J. S. Bach, the structure of the Capriccio, and lastly the different instruments on which the Capriccio can be performed and the impact which this choice has on any performance thereof. / Department of Musicology / M.Mus.

The hypothesis of this study entails the formulation of interpretative solutions for J. S. Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title, strives to provide a synthesis in which the cognitive understanding of the music can contribute to a more informed aesthetic interpretation of the music. In the ensuing study this objective is realised by examining the origin of the work and the sources from which it was handed down, the style in which the Capriccio was composed and conceived, the performance practices prevalent in the early eighteenth century and the applicability thereof to the music of J. S. Bach, the structure of the Capriccio, and lastly the different instruments on which the Capriccio can be performed and the impact which this choice has on any performance thereof. / Department of Musicology / M.Mus.

The thesis "J. S. Bach and His Piano Pieces for Music Art Schools" is focused on interpretation of the piano music of Johann Sebastian Bach. For the right understanding of the composer's musical narratives, it is necessary to acquire the basic knowledge and principles of the music theory in the Baroque era and to become familiar with the environment in which this extraordinary composer had been professionally developing and composing. This musician is presented here as the founder of a modern fingering whose musical language brought a change into musical thinking and he became inspiration and a role model for composers of the next centuries. This thesis highlights the importance of appropriately selected musical materials in piano teaching and it prefers the performance to be as authentic as possible. The main purpose of this paper is to update the knowledge of methodology and to find a comprehensive guide to a correct understanding of musical language of this genius that would help the music teachers introduce to pupils the beauty and timelessness of Bach's musical work and that would motivate them to other musical discoveries and make them desire to be further educated in music.