No description available.

This study is concerned with conventions of notation and of performance in the music of Johann Sebastian Bach. The small-note Vorschlag represents one of the most puzzling and least understood aspects of western musical notation during the period under discussion. Although the issue has been examined extensively in the past. the lack of consensus among scholars and performers - coupled with Bach's copious use of the small-note Vorschlag - indicates that a reassessment is warranted. The aim is to arrive at an understanding of Bach's notation of the Vorschlag and its implications for informed performance of his music. Initially, the study places Bach's notation within the context of contemporary practice. An examination of the composer's awareness of French and German music reveals that both anticipatory and 'on-beat' resolutions of the ornament were current during Bach's professional life. A relationship between differing resolutions and notation is identified - 'schematic' notation - in the music of Dieupart, Walther, Telemann and Muffat where contrasted sigla are employed to indicate the metrical placement of the ornament. Additionally, Bach's custom of using the Vorschlag in both written-out and small-note forms is investigated. The core of the study is contained in a series of case-studies. Following a broadly chronological sequence, these case-studies examine in detail Bach's use of differing notational forms for the Vorschlag. Through the application of comparative analytical methods, the extent to which Bach's practice reflects that of his contemporaries is assessed, and how far the evidence permits judgement as to Bach's intended resolution of the ornament.The final chapter provides a synthesis of the findings of the study. In so far as they may be determined, the conventions of performance current in Bach's music are defined. From this, it emerges that there is a loose correlation between notation and metrical placement. The study concludes by considering the implications of how this observation impacts on an understanding of Bach's ornamental style, in particular his assimilation of new stylistic currents in the last two decades of his life.

Zugl.: Diss. theol. Bern, 1980.

Thesis (M.A.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 111-113). Also available online.

Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes bibliographical references (leaf [111]).

Johann Sebastian Bach is considered the foremost organist and composer of organ music of his time. His vast knowledge of the instrument and his ability to reveal the organ?s brilliance were unparalleled, taking the organ to its peak in the Baroque era. Bach perfected many musical styles and forms of the day, and also became well-known for his improvisational skills. However, by the end of Bach?s life, the styles and forms began to change. The forms Bach knew so well slowly gave way to new ideas, signaling the beginning of what music historians label the ?Classical? period. It was during this time that the popularity of the organ began to decline. Bach?s children left behind their father?s musical styles to try new, emerging styles. Although several did continue to compose for the organ, they composed mainly for other keyboard instruments or orchestras. In the middle of the eighteenth century, the Enlightenment changed not only the role of the church, but also people?s view of the church as well. Liturgical changes were made and the organ was viewed as part of the old style. Orchestras replaced the organ and, for the most part, organists either improvised or took a step back from their duties. However, the decline of organ music in the classical period did not equate to its complete disappearance. Bach?s compositions lost favor with the general public after his death, and his successors were left to carry on his legacy and the art of the organ. While Bach?s contributions to the organ world are vast and well-documented, the works of his successors are less familiar. This thesis will focus primarily on the organ repertoire of Bach?s successors during the period of change, the Pre-Classical period. The contributions of Bach?s best-known pupil, Johann Krebs, have been well documented, and research on Krebs is the starting point for this thesis. Research on Bach?s children and his other pupils is available, but one would be hard-pressed to find more than one or two articles of any length on their individual contributions. This thesis will attempt to combine the research on Bach?s sons and students, and reveal their contributions to organ literature as a bridge between Baroque and Classical periods. The first chapter will discuss Bach?s keyboard contributions, as well as styles prevalent in the Pre-Classical period. The second through fourth chapters will discuss Bach?s sons ? Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christian, respectively. The fifth and sixth chapters will include Johann Ludwig Krebs and Bach?s last two pupils. Research for this thesis primarily relies on books and scholarly articles about the Bach family and organ literature of the time period. Databases such as JStor, WorldCat, and the New Grove Dictionary of Music and Musicians have been used to locate articles and recent findings. Research on this particular subject is not adequately covered in English. Most are written in Bach?s native language, German, with very few translated into the English language. This thesis covers both German and English articles, books, and journals on the topic.

Thesis (M.M.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains vii, 33 p. : music, ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 31-32).

No description available.

Zugl.: Dresden, Techn. Univ., Diss., 2004

The music of Bach becomes much more understandable through an examination of the composers who work before him. An examination of the music of the pre-Bach composers proves it to be amazingly fresh and vital, and it was in this field that Back sought inspiration.