This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.

abstract: This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document. / Dissertation/Thesis / D.M.A. Music 2013

Master of Music / School of Music, Theatre, and Dance / Anna Wytko / The saxophone is a versatile instrument utilized in a variety of musical styles. Paul Creston’s Concerto for Alto Saxophone and Orchestra, Claude Debussy’s Rhapsodie pour Orchestre et Saxophone, and Edison Denisov’s Sonate pour Saxophone Alto et Piano are among some of the most important, original works for saxophone. The saxophone can also effectively be utilized in music from earlier time periods. For example, the saxophone is capable of producing tonal colors that closely mirror tonal colors associated with string instruments. These parallels make transcriptions of the Six Suites for Solo Cello by Johann Sebastian Bach particularly effective when performed on saxophone. This master’s report, presented as extended program notes, includes biographical information about the composers, a stylistic overview of the selected works, and thoughtful performance considerations.

abstract: This paper closely examines the performance practice regarding articulation of the preludes from Bach’s Well-Tempered Clavier Book I. Recordings by five pianists are studied: Vladimir Feltsman, Glenn Gould, Angela Hewitt, Andras Schiff, and Rosalyn Tureck. The recordings reveal certain recurring articulation patterns which are categorized into six articulation techniques: short slurs, long slurs, detached upbeat, accented downbeats, changing articulation, and rolled chords. The author has divided the preludes into four groups: preludes with continuous running figuration, lyrical preludes, lyrical preludes with distinct melody and accompaniment, and preludes with non-lyrical themes. Analysis reveals that for each group of preludes, there are a set of principles that these pianists follow. Overall, for non-lyrical preludes, the running sixteenth notes are played legato, staccato, or a short slur followed by staccato. The slower moving quarter and eighth notes stay mostly detached or staccato. For lyrical preludes, the melody remains largely legato. Articulation techniques are used more extensively in non-lyrical preludes than lyrical ones, and more often in the slower moving eighth notes than running figuration. Articulation techniques are often used as means of embellishment. They enhance the individual character of each piece and generate Baroque attributes. Despite the principles observed in the recordings, many isolated performances are found which do not conform to any of them, suggesting that there is no authoritative rule when articulating Bach’s works on piano. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.

Der Beitrag zeichnet die inhaltlichtechnische Entwicklung der Komponistendatenbank Bach digital nach und erläutert ihre Zielsetzungen. Damit einhergehend werden einerseits die Herausforderungen und Probleme digitaler Langezeitprojekte benannt. Andererseits wird dargestellt, wie durch die Entwicklung eines komplexen digitalen Recherche-Instruments die Organisation und Präsentation von Forschungsergebnissen transformiert werden und welche Veränderungen sich dadurch für das musikwissenschaftliche Arbeiten und die Forschungskommunikation ergeben. / The article outlines the content-technical development of the composer-database Bach digital and explains the project goals. Consequently, on the one hand, the challenges and problems of digital long-term projects are identified. On the other hand, it is shown how the organization and presentation of research results are transformed by the development of a complex digital research instrument and which changes result from it for the musicological work and the research communication.

No description available.

No description available.

No description available.

Denna uppsats handlar om att spela Johann Sebastian Bachs första cellosvit på marimba – ett instrument som ursprungligen saknar repertoar komponerad av Bach. Studiens syfte var att finna en personlig interpretation som är barockstilen trogen, samt att studera skillnader och likheter mellan en slagverkares tolkning och en cellists. I interpretationsprocessen analyserades samtliga satser utifrån musikaliska aspekter. Vidare genomfördes intervjuer med slagverkaren Johan Bridger och cellisten Jakob Koranyi. Även olika inspelningar av det berörda stycket jämfördes. Resultatet visar på att en musikalisk analys underlättar i instuderingen av ett stycke och att det inte finns något definitivt sätt att tolka Bachs musik på. Det finns heller ingen större skillnad vad gäller tolkning om man jämför cellister som grupp och slagverkare som grupp, förutom de olika instrumentens begränsningar. Ett exempel på detta är sättet att spela ackord. Det är snarare flera faktorer som påverkar en musikers tolkning av ett stycke, såsom bakgrund och tidigare lärare. Att Bachs musik allt oftare förekommer på provspelningar i olika sammanhang tyder på att en musikers sätt att spela dennes musik på har betydelse och att det finns ett behov av att studera hans musik. Detta arbete kan vidare underlätta i framtida interpretation av annan musik.