Schostakowitsch hat beide Bände des Wohltemperierten Klaviers bereits als 12jähriger gespielt, als er das Klavierspiel bei Ignati Gljasser, einem Schüler von Hans von Bülow, erlernte. So hat ein Petersburger Junge die deutsche Schule kennengelernt. Im Konservatorium studierte Schostakowitsch später das Klavierspiel bei dem hervorragenden Pädagogen Leonid Nikolajew, einem Schüler von Sergei Tanejew. Bei ihm herrschte der Kontrapunkt der strengen Schreibart vor. Nikolajew schenkte den Werken Bachs eine große Aufmerksamkeit.

The purpose of this study is to make an investigation of the musical score of "The Passion According to St. Matthew" with attention given to the pictorial elements or symbolism in the composition. The study is confined mainly to the one composition, but attention is given to the historical background of the work, and examples of the pictorial technique of sacred music as it had been developed in the Netherlands.

The purpose of this study is to present a brief history of the work, a discussion of the ornamentation which occurs therein and suggestions for the performance of the ornaments, an analysis covering especially the characteristics of each movement in regard to form and style and inasmuch as possible to show the influence of this early work on the later compositions of J. S. Bach.

La thèse veut démontrer que toutes les compositions contenues dans L'Art de la Fugue possèdent entre elles des liaisons strictes et essentielles qui vont au-delà de la simple coprésence et/ou élaboration du même sujet, en créant une unité et une progression de la complexité technique dans son évolution. À travers une analyse détaillée de toutes les fugues sur trois niveaux: rythmique, harmonique et morphologique, notre objectif est d’identifier et de cataloguer tous les éléments spécifiques qui créent cette unité, afin d'arriver à la présentation du système des techniques compositionnelles utilisées par le compositeur. Nous proposons des nouveaux outils analytiques pour la compréhension des problématiques majeures liées à l’œuvre, l’ordonnancement du recueil et sa destination instrumentale. / The thesis aims to demonstrate that all the compositions contained in the “Art of Fugue” are bound together by a pattern of tight and essential connections, which go beyond an unstructured co-existence or a simple elaboration of a common subject: they form one unit and are ordered in a sequence of increasing technical complexity.The author makes a detailed analysis of all Fugues at three levels, Rhythm, Harmony and Morphology; he identifies and classifies all elements that create the unit: he presents the method and suite of techniques employed by the composer; finally, he proposes new analytical tools for the comprehension of the main issues related.

Detta dokument innehåller 2018 års kandidatprojekt av Sebastian Waller. Projektets syfte var att rita en tvåparallellig F-6-skola, för uppskattningsvis 420 elever. Vi valde i projektets början mellan två tomter, en i Mälarängen och en i Henriksdal. Jag valde den sistnämnda då jag ville arbeta med en miljö som är mer urban till att börja med, samt att jag är rätt förtjust i Hammarby Sjöstad som stadsrumsmiljö, och tyckte det vore kul att få arbeta med det området. Dessutom tänkte jag att tomtens något svåra form verkade intressant att förhålla mig till. Den huvudsakliga gestaltningsprincipen jag utgått ifrån är ett stadsplaneringsperspektiv; tomten ligger belägen på ett sådant vis att skolan och dess byggnader blir avslutet på den geometri som går att utläsa ur Hammarby Sjöstads utbredning. Grundat på denna tanke har jag utformat två byggnader, en huvudbyggnad och en matsalsbyggnad, som blir avslutande partier på varsin del av områdets stadsbyggnadsmässiga plangeometri. Huvudbyggnaden blir det nordliga avslutet på volymerna i geometrin som tar sin början vid Regattakajen, och dess form har delvis tagits ur principer som kan återfinnas i dessa. Två nämnvärda sådana principer är de olika våningshöjderna mellan volymer, och hur några av områdets byggnader bryter de räta vinklarna utefter vägar m.m. Matsalen är i sin tur avslutet på geometrin som går utmed Kanalvägen, då jag bestämde att den får ett något abrupt slut om ingen byggnad placeras där, eftersom den nuvarande paviljongförskolan försvinner. Den är orienterad så att dess riktning möter “spetsen” och huvudbyggnaden. Formen är baserad på byggnaden söder om tomten, vilken skiljer sig något från områdets andra byggnader. Denna har en geometri som skapar ett öppet “torg” mot vägen, vilket för matsalen blir passande eftersom denna yta kan ackommodera lastbilsburna leveranser. / This document contains the bachelors' project of 2018 by Sebastian Waller. The purpose of the project was to produce a school for ages 6 though to 12 of two parallells per year, accommodating approximately some 420 students. At the start of the project we were given a choice between two sites, one in Mälarängen and one in Henriksdal (Henry Valley). I chose the latter since I wanted to work with an environment that's more urban to begin with, and because I'm quite fond of Hammarby Sjöstad as a cityscape, and figured working with that area would be fun. Furthermore, I thought the quite challenging shape of the site seemed like an interesting factor to relate to. The main principle of design I've used comes from a perspective of city planning; The site is situated in such a way that the school and its buildings form an end to the geometry that can be translated from the expanse of Hammarby Sjöstad. Based on this I've designed two buildings, one main building and one canteen building, that each provide ends to parts of the urban geometry in the area. The main building forms the northern end of the geometry that originates in Regattakajen, and its form has partially been generated from principles found there. Two such principles are the differing number of stories between different volumes, as well as the way in which some of the area's buildings break the otherwise straight angles to conform to roads etc. In turn, the canteen becomes the end of the geometry that follows Kanalvägen, which I thought would otherwise come to quite the abrupt cut-off when the current pavilion preschool at the site is removed. It is angled so as to point toward the main building and "meet" it at the "apex" of the resulting geometry. Its shape is based off of the building south of it, which differs slightly from the other buildings in the area. Its geometry creates a sort of open "plaza" facing the road, which when applied in the canteen building provides a suitable space for lorry-borne deliveries.

Hinter „Bach Digital“ verbirgt sich die Idee einer digitalen Bibliothek aller erhaltenen Originalhandschriften Johann Sebastian Bachs. Das seit 2008 von der DFG geförderte Projekt wird vom Bach-Archiv Leipzig, der Staatsbibliothek zu Berlin und der SLUB Dresden betreut, in denen etwa 90% der Originalhandschriften überliefert sind. Um in absehbarer Zeit alle Bach-Autographe zu vereinen, werden Vorgespräche mit der Library of Congress in Washington, der New York Public Library und der British Library in London geführt.

Analysis in relation to performance of the six authentic motets of J.S. Bach: Singet dem Herrn ein neues Lied ; Geist hilft unsrer Schwachheit auf ; Fürchte dich nicht ; Jesu, meine Freude ; Komm, Jesu, komm ; Lobet den Herrn, alle Heiden.

This subject has been chosen by the writer for the purpose of discussing these problems of performance, arising with the composition, the St. Matthew Passion, by J. S. Bach. Since Bach was a German and wrote in that language, the edition used is called the American edition. The performances in America are, with few exceptions, based upon translations which must be accurately edited so as not to obscure Bach's intentions.

One of the outstanding aspects of nineteenth-century romanticism was its preoccupation with the past. This interest in the music or the old masters has lasted well into the twentieth century, and one whose lifetime bridged the two centuries was the composer Max Reger (1873-1916). Reger's admiration for the music of the past pervaded his own works. His preference for contrapuntal textures and devices, his use of baroque forms, his distaste for program music--all bespeak Reger's especial interest in the old masters, particularly in 5. S. Bach. These qualities led some to regard him as the successor of Johannes Brahms, who held similar tenets. Because of his particular interest in composing for the organ, Reger was viewed as a "nineteenth-century Bach."

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2018-05-09T16:27:54Z No. of bitstreams: 1 2010 - Vinicius Miranda Cardoso.pdf: 2390491 bytes, checksum: e41c7d30ef97dece59f6e36aba7d6b0a (MD5) / Made available in DSpace on 2018-05-09T16:27:54Z (GMT). No. of bitstreams: 1 2010 - Vinicius Miranda Cardoso.pdf: 2390491 bytes, checksum: e41c7d30ef97dece59f6e36aba7d6b0a (MD5) Previous issue date: 2010-05-07 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior, CAPES, Brasil. / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior, CAPES, Brasil. / This dissertation aims to identify, analyze and explain the foundations of Saint Sebastian?s cult as Rio de Janeiro?s city patron saint, in the way Society of Jesus has conceived, used and read, between the second half of XVIth century and the first of XVIIth. The veneration and the symbolism of that saint has assumed an ignatian form by means of actualization, adaptation and ritualizing of his representations concerned with Rio?s foundation and continuous protection. Based on Saint Ignatius Order lettering, on a narrative about a Jesuit visitation and on certain acts or poetry attributed to Jos? de Anchieta, this work intends to demonstrate how fathers of that Society turned into promoters of the declared protection furnished by that arrowed patron, represented as an eternal emblem of the city. Within the rhetoric-politicaltheological perspective that sustained the members of Society of Jesus? actuation in Portuguese America, that saint?s recordation was registered, formalized and cultivated in the city through writings and rites that were destined to the heterogeneous urban audience, proposing to that different inhabitants a clientele relationship (patrocinium) with the protector saint. The discourse propagated by Jesuits about Saint Sebastian?s supporting to Rio de Janeiro was based primordially on a relation of identity linking the saint to the city since its foundation, especially regarding to the city?s name and the memory of miraculous cases that would reveal zeal care and protection offered by the patron for Guanabara Bay?s conquest campaign, against French people and Tamoyo Indians (1565-1567). / This dissertation aims to identify, analyze and explain the foundations of Saint Sebastian?s cult as Rio de Janeiro?s city patron saint, in the way Society of Jesus has conceived, used and read, between the second half of XVIth century and the first of XVIIth. The veneration and the symbolism of that saint has assumed an ignatian form by means of actualization, adaptation and ritualizing of his representations concerned with Rio?s foundation and continuous protection. Based on Saint Ignatius Order lettering, on a narrative about a Jesuit visitation and on certain acts or poetry attributed to Jos? de Anchieta, this work intends to demonstrate how fathers of that Society turned into promoters of the declared protection furnished by that arrowed patron, represented as an eternal emblem of the city. Within the rhetoric-politicaltheological perspective that sustained the members of Society of Jesus? actuation in Portuguese America, that saint?s recordation was registered, formalized and cultivated in the city through writings and rites that were destined to the heterogeneous urban audience, proposing to that different inhabitants a clientele relationship (patrocinium) with the protector saint. The discourse propagated by Jesuits about Saint Sebastian?s supporting to Rio de Janeiro was based primordially on a relation of identity linking the saint to the city since its foundation, especially regarding to the city?s name and the memory of miraculous cases that would reveal zeal care and protection offered by the patron for Guanabara Bay?s conquest campaign, against French people and Tamoyo Indians (1565-1567). / O objetivo desta disserta??o de mestrado ? identificar, analisar e explicar os fundamentos do culto a S?o Sebasti?o como santo patrono citadino do Rio de Janeiro tal como a Companhia de Jesus o concebeu, utilizou e deu a ler, entre a segunda metade do s?culo XVI e a primeira do s?culo XVII. A venera??o e o simbolismo do santo ganharam uma forma inaciana com a atualiza??o, adequa??o e ritualiza??o de suas representa??es concernentes ? funda??o e ? prote??o perene da urbe de Est?cio de S?. Com base na correspond?ncia da ordem de Santo In?cio, na narrativa de uma visita??o jesu?tica e em certos ?autos? ou ?poesias? atribu?dos a Jos? de Anchieta, procurar-se-? demonstrar como os padres da Companhia se fizeram promotores da declarada prote??o do patrono flechado, representado como emblema perp?tuo da cidade. Inserindo-se na perspectiva ret?rico-pol?tico-teol?gica que embasava a atua??o dos padres e irm?os da Companhia na Am?rica portuguesa, a lembran?a do santo foi registrada, formalizada e cultivada na cidade atrav?s de escritos e ritos que se destinavam ao heterog?neo audit?rio citadino, propondo aos diferentes habitantes uma rela??o de clientela (patrocinium) com o santo protetor. O discurso propagado pelos jesu?tas acerca do patroc?nio de S?o Sebasti?o ao Rio de janeiro se baseava fundamentalmente na rela??o de identidade que ligava o santo ? cidade desde a funda??o, especialmente no que diz respeito ao nome da urbe e ? mem?ria de casos milagrosos que revelariam o zelo e a prote??o do padroeiro ? campanha de conquista da Guanabara, ante franceses e ?ndios Tamoio (1565-1567). / O objetivo desta disserta??o de mestrado ? identificar, analisar e explicar os fundamentos do culto a S?o Sebasti?o como santo patrono citadino do Rio de Janeiro tal como a Companhia de Jesus o concebeu, utilizou e deu a ler, entre a segunda metade do s?culo XVI e a primeira do s?culo XVII. A venera??o e o simbolismo do santo ganharam uma forma inaciana com a atualiza??o, adequa??o e ritualiza??o de suas representa??es concernentes ? funda??o e ? prote??o perene da urbe de Est?cio de S?. Com base na correspond?ncia da ordem de Santo In?cio, na narrativa de uma visita??o jesu?tica e em certos ?autos? ou ?poesias? atribu?dos a Jos? de Anchieta, procurar-se-? demonstrar como os padres da Companhia se fizeram promotores da declarada prote??o do patrono flechado, representado como emblema perp?tuo da cidade. Inserindo-se na perspectiva ret?rico-pol?tico-teol?gica que embasava a atua??o dos padres e irm?os da Companhia na Am?rica portuguesa, a lembran?a do santo foi registrada, formalizada e cultivada na cidade atrav?s de escritos e ritos que se destinavam ao heterog?neo audit?rio citadino, propondo aos diferentes habitantes uma rela??o de clientela (patrocinium) com o santo protetor. O discurso propagado pelos jesu?tas acerca do patroc?nio de S?o Sebasti?o ao Rio de janeiro se baseava fundamentalmente na rela??o de identidade que ligava o santo ? cidade desde a funda??o, especialmente no que diz respeito ao nome da urbe e ? mem?ria de casos milagrosos que revelariam o zelo e a prote??o do padroeiro ? campanha de conquista da Guanabara, ante franceses e ?ndios Tamoio (1565-1567).