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.

Poon Ching Hang, Amos. / Thesis (M.Div.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 47-48). / Abstracts in English and Chinese. / Abstract --- p.ii / Acknowledgement --- p.V / Chapter Chapter 1: --- Introduction --- p.1 / Chapter Chapter 2: --- Background of St. John Passion --- p.3 / Chapter Chapter 3: --- The Analytical Methodology --- p.6 / Historical Perspective --- p.6 / Structural Aspect --- p.11 / Musical Perspective --- p.13 / Textual Aspect --- p.15 / Chapter Chapter 4: --- The Possible Messages in St. Tohn Passion --- p.25 / Discipleship --- p.25 / Christus Victor --- p.35 / Luther's Theology of the Cross --- p.41 / Summary --- p.44 / Chapter Chapter 5: --- Conlcusion --- p.45 / Bibliography --- p.47 / Chapter Appendix A: --- Movements in St. John Passion --- p.49 / Chapter Appendix B: --- Comparison of the Variations among different Versions of Bach's St. John Passion --- p.55 / Chapter Appendix C: --- Librettos of St. John Passion and the Comparison with Biblical Text from the Luther Bible --- p.57

Thesis (M.M.)--Boston University. A thesis presented to the faculty of the School of Fine and Applied Arts [Boston University], in partial fulfillment of the requirements for the degree Master of Music, August 1963.

Akademisk avhandling--Göteborg, 2002. / Bibliogr. p. 139-152. Index.

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Mar. 08, 2010). Creative project (M.M.), 3 hrs. Includes bibliographical references (p. 16).

Graduate / 0413

In the centuries that have passed since the premiere of Johann Sebastian Bach’s St. Matthew Passion in Leipzig’s St. Thomas’s Church at the Good Friday service in 1727, the work has had a remarkable performance history. Despite the fact that it received a number of repeat performances during Bach’s own lifetime (in revised versions), the St. Matthew Passion was largely forgotten after the composer’s passing until Felix Mendelssohn “resurrected” it in Berlin in 1829 with the localSing-Akademie and the Philharmonische Gesellschaft. The latter performance created such a level of excitement and interest in musical circles that two repeat performances followed soon after, despite Mendelssohn’s absence from Berlin. In 1970, Nikolaus Harnoncourt’s groundbreaking Telefunken LP of the St. Matthew Passion with the period instrument band Concentus Musicus Wien was released, a recording that, above all, stood in stark contrast to the consistent growth in the size of choirs performing this work that had occurred over centuries since Bach’s first performance in 1727. As with Mendelssohn’s performance, Harnoncourt’s interpretation generated great interest in scholarly circles and among the listening public. This critical commentary examines the size and constitution of the vocal and instrumental forces of all three performances of the St. Matthew Passion, as well as the extent to which those of 1829 and 1970 adhered to what is known of Bach’s own practices. In addition to investigating the choices made by the respective musical directors in this respect, the reception of Mendelssohn’s and Harnoncourt’s performances will also be considered.

Thesis (M.A.)--Western Conservative Baptist Seminary, 1989. / Abstract. Includes bibliographical references (leaves 79-84).

Thesis (M. Mus.)--University of Adelaide, 1989. / Includes bibliographical references (leaves 94-99).

Thesis (Ph. D.)--University of New South Wales, 2004. / Also available online.