Orientador : Ubiratan D'Ambrosio / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-16T06:07:50Z (GMT). No. of bitstreams: 1 Jank_Helena_D.pdf: 5322088 bytes, checksum: c52e699aa7b30c81f97e4e9944a10c30 (MD5) Previous issue date: 1988 / Resumo: Dentre muitas formas possíveis de abordagem para esta obra monumental de J. S. Bach, o presente trabalho traz um enfoque eminentemente humanístico, através do qual transparece a intenção do compositor de estruturar, na forma de tema e variações um ?guia para a formação do homem completo? Esta intenção se manifesta na organização geral da obra, com uma clara divisão em três grupos de variações, nos quais são explorados aspectos técnicos, composicionais e de interpretação. Com base na visão antroposófica de Rudolf Steiner, e encontrando apoio em autores como Ingrid e Helmut Kaussler, e Hermann Pfrogner, estabelece-se uma relação entre o trabalho de preparação da obra e o desenvolvimento interno do intérprete, ao estudar a música, ou do ouvinte, ao se expor a ela o homem se vê refletido na obra de arte, tornando-se parte dela, e ao mesmo tempo contemplando-a à distância. . No exercício de reconhecer as mensagens contidas na obra de arte, toma-se sensível à sua própria dinâmica interna, e percebe-se renovado pela ordem e harmonia do universo / Abstract: Not informed. / Doutorado / Doutor em Artes

J.F. Fasch, the Kapellmeister at the Court of Anhalt-Zerbst from 1722 to 1758 and one of the most neglected contemporaries of J.S. Bach, composed approximately 1400 sacred cantatas during his life time. Seven cycles comprising 1000 cantatas were listed by Fasch in a music inventory, the Concert=Stube des Zerbster Schloβes. Using data recorded in volumes 352-369 of the Konsistorium Zerbst Rep 15 IXa chronicle, this dissertation sheds light on the musical-liturgical activities at the Court Chapel during the years of Fasch's tenure. This primary source was hitherto thought to be lost but it is indeed held at the Landesarchiv Oranienbaum, Germany, and has provided a wealth of illuminating information for this study. It allows us to solve a number of enigmas which have long puzzled scholars. First, we can gain insight into the music and worship traditions at the Court Chapel and examine Fasch's role as Kapellmeister in a contemporary mid-eighteenth century context. In addition to performing his own cantata cycles and premiering cycles by other composers such as Telemann and G.F. Stölzel, Fasch repeated these cycles between two and six times. Secondly, we can date the largest collection of sacred cantatas by Fasch preserved at the Staatsbibliothek zu Berlin—Preuβischer Kulturbesitz. The majority of cantatas form part of a cycle from 1735/36, Das in Bitte, Gebeth, Fürbitte and Dancksagung bestehende Opffer. The extant copies were prepared by Fasch in the early 1750s, probably upon the request of a fellow composer who participated in the Musikalientausch which Fasch had begun organizing in 1728. Finally, an examination of Fasch's compositional procedures as evident in the sacred cantatas preserved at the Staatsbibliothek shows that while his musical style was firmly rooted in the mid-eighteenth century, Fasch also employed forward-oriented techniques and developed an Individualstil. This investigation, having brought to light important source materials and offered significant insights, provides a useful basis for, and stimulus to any future research into the sacred music of J.F. Fasch as well as the musical-liturgical activities at German Courts during the first half of the eighteenth century. / Graduate

Thesis (doctoral)--Eberhard-Karls-Universität zu Tübingen, 1984.

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.

Diss.--Philosophische Fakultät--München--Ludwig-Maximilians-Universität, 2000. / Bibliogr. p. 355-374. Index.

Diss.--Katholisch-theologische Fakultät--Freiburg im Breisgau--Albert-Ludwigs-Universität, 2000. / Bibliogr. p. 414-443. Index.

Texte remanié de: Habilitationsschrift--Theologische Fakultät--Leipzig--Universität, 1994. / Contient en annexe des documents et quelques textes de J. L. Ewald. Bibliogr. p. 557-587. Index.

Thèse pour le doctorat--Musicologie--Tours, 1994. / 2 tomes en 1 vol. Bibliogr. p. 379-388.

Texte remanié de: Dissertation--Fachbereich Sprach- und Literaturwissenschaften--Halle-Wittenberg--Martin-Luther-Universität, 2004. / Bibliogr. p. 249-262.

Diss.--Berlin--Freie Universität, 2004. / Notes bibliogr.