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This is the first-ever book on computational group theory. It
provides extensive and up-to-date coverage of the fundamental
algorithms for permutation groups with reference to aspects of
combinatorial group theory, soluble groups, and p-groups where
appropriate. The book begins with a constructive introduction to
group theory and algorithms for computing with small groups,
followed by a gradual discussion of the basic ideas of Sims for
computing with very large permutation groups, and concludes with
algorithms that use group homomorphisms, as in the computation of
Sylowsubgroups. No background in group theory is assumed. The
emphasis is on the details of the data structures and
implementation which makes the algorithms effective when applied to
realistic problems. The algorithms are developed hand-in-hand with
the theoretical and practical justification.All algorithms are
clearly described, examples are given, exercises reinforce
understanding, and detailed bibliographical remarks explain the
history and context of the work. Much of the later material on
homomorphisms, Sylow subgroups, and soluble permutation groups is
new.
Compositional Choices and Meaning in the Vocal Music of J. S. Bach
collects seventeen essays by leading Bach scholars. The authors
each address in some way such questions of meaning in J. S. Bach's
vocal compositions-including his Passions, Masses, Magnificat, and
cantatas-with particular attention to how such meaning arises out
of the intentionality of Bach's own compositional choices or (in
Part IV in particular) how meaning is discovered, and created,
through the reception of Bach's vocal works. And the authors do not
consider such compositional choices in a vacuum, but rather discuss
Bach's artistic intentions within the framework of broader cultural
trends-social, historical, theological, musical, etc. Such
questions of compositional choice and meaning frame the four
primary approaches to Bach's vocal music taken by the authors in
this volume, as seen across the book's four parts: Part I: How
might the study of historical theology inform our understanding of
Bach's compositional choices in his music for the church (cantatas,
Passions, masses)? Part II: How can we apply traditional analytical
tools to understand better how Bach's compositions were created and
how they might have been heard by his contemporaries? Part III:
What we can understand anew through the study of Bach's
self-borrowing (i.e., parody), which always changed the earlier
meaning of a composition through changes in textual content,
compositional characteristics, the work's context within a larger
composition, and often the performance context (from court to
church, for example)? Part IV: What can the study of reception
teach us about a work's meaning(s) in Bach's time, during the time
of his immediate successors, and at various points since then
(including our present)? The chapters in this volume thus reflect
the breadth of current Bach research in its attention not only to
source study and analysis, but also to meanings and contexts for
understanding Bach's compositions.
The official publication of the American Bach Society, Bach
Perspectives pioneers new areas of research into the life, times,
and music of the master composer. In Volume 10 of the series,
Matthew Dirst edits a collection of groundbreaking essays exploring
various aspects of Bach's organ-related activities. Lynn Edwards
Butler reconsiders Bach's report on Johann Scheibe's organ at St.
Paul's Church in Leipzig. Robin Leaver clarifies the likely
provenance and purpose of a collection of chorale harmonizations
copied in Dresden. George Stauffer investigates the ways various
independent trio movements served Bach as an artist and teacher. In
separate contributions, Christoph Wolff and Gregory Butler seek the
origins of concerted Bach cantata movements spotlighting the organ
and propose family trees of both parent works and offspring.
Finally, Matthew Cron provides a broad cultural frame for such
pieces and notes how their components engage in a larger discourse
about the German Baroque organ's intimation of heaven.
Compositional Choices and Meaning in the Vocal Music of J. S. Bach
collects seventeen essays by leading Bach scholars. The authors
each address in some way such questions of meaning in J. S. Bach's
vocal compositions-including his Passions, Masses, Magnificat, and
cantatas-with particular attention to how such meaning arises out
of the intentionality of Bach's own compositional choices or (in
Part IV in particular) how meaning is discovered, and created,
through the reception of Bach's vocal works. And the authors do not
consider such compositional choices in a vacuum, but rather discuss
Bach's artistic intentions within the framework of broader cultural
trends-social, historical, theological, musical, etc. Such
questions of compositional choice and meaning frame the four
primary approaches to Bach's vocal music taken by the authors in
this volume, as seen across the book's four parts: Part I: How
might the study of historical theology inform our understanding of
Bach's compositional choices in his music for the church (cantatas,
Passions, masses)? Part II: How can we apply traditional analytical
tools to understand better how Bach's compositions were created and
how they might have been heard by his contemporaries? Part III:
What we can understand anew through the study of Bach's
self-borrowing (i.e., parody), which always changed the earlier
meaning of a composition through changes in textual content,
compositional characteristics, the work's context within a larger
composition, and often the performance context (from court to
church, for example)? Part IV: What can the study of reception
teach us about a work's meaning(s) in Bach's time, during the time
of his immediate successors, and at various points since then
(including our present)? The chapters in this volume thus reflect
the breadth of current Bach research in its attention not only to
source study and analysis, but also to meanings and contexts for
understanding Bach's compositions.
As the official publication of the American Bach Society, Bach
Perspectives has pioneered new areas of research in the life,
times, and music of Bach since its first appearance in 1995. In a
series long known for its major essays by leading Bach scholars and
performers, Bach Perspectives, Volume 6 is no exception. This
volume opens with Joshua Rifkin's seminal study of the early source
history of the B-minor orchestral suite. It not only elaborates on
Rifkin's discovery that the work in its present form for solo flute
goes back to an earlier version in A minor, ostensibly for solo
violin, but also takes this discovery as the point of departure for
a wide-ranging discussion of the origins and extent of Bach's
output in the area of concerted ensemble music. Jeanne Swack
presents an enlightening comparison of Georg Phillip Telemann's and
Bach's approach to the French overture as concerted movements in
their church cantatas, and Steven Zohn views the B-minor orchestral
suite from the standpoint of the "concert en ouverture," responding
to Rifkin by suggesting that the early version of the B-minor
orchestral suite may also have been scored for flute.
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