Stylized dance music and music based on dance rhythms pervade
Bach's compositions. Although the music of this very special genre
has long been a part of every serious musician's repertoire, little
has been written about it.
The original edition of this addressed works that bore the names
of dances a considerable corpus. In this expanded version of their
practical and insightful study, Meredith Little and Natalie Jenne
apply the same principals to the study of a great number of Bach's
works that use identifiable dance rhythms but do not bear
dance-specific titles.
Part I describes French dance practices in the cities and courts
most familiar to Bach. The terminology and analytical tools
necessary for discussing dance music of Bach's time are laid
out.
Part II presents the dance forms that Bach used, annotating all
of his named dances. Little and Jenne draw on choreographies,
harmony, theorists' writings, and the music of many seventeenth-
and eighteenth-century
composers in order to arrive at a model for each dance type.
In Appendix A all of Bach's named dances are listed in
convenient tabular form; included are the BWV number for each
piece, the date of composition, the larger work in which it
appears, the instrumentation, and the meter.
Appendix B supplies the same data for pieces recognizable as dance
types but not named as such.
More than ever, this book will stimulate both the musical
scholar and the performer with a new perspective at the rhythmic
workings of Bach's remarkable repertoire of dance-based music."
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