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This 1995 volume brings together essays on J. S. Bach and members
of his family by a distinguished group of scholars. The essays
address Bach's compositions, his knowledge of the musical past, his
study of contemporaries, and the cultivation of his own music by
later generations. The studies draw on source criticism, musical
analysis, religious and social context, performance practice and
reception history - a broad range of techniques and issues in Bach
scholarship. The international contributors include both
established scholars and newer voices in Bach studies. This volume
will be indispensable for any future work on the Musical Offering,
St Matthew Passion, Italian Concerto, on Bach's musical connections
with his sons Carl Philipp Emanuel and Wilhelm Friedemann and on
many other topics in Bach research.
The motets of J. S. Bach are probably the most sophisticated works
ever composed in the genre. Nevertheless, Daniel Melamed maintains,
the view that they constitute a body of work quite separate from
the German motet tradition is mistaken. He starts by considering
the eighteenth-century understanding of the term itself and finds
that Bach's own use does indeed agree with his contemporaries and
that his motets are rooted in the conventions of the time,
particularly in matters of musical construction, performing forces,
and type of text. A fresh look at the repertory shows that Bach
composed motets all through his career and an appreciation of the
contemporary conception of the motet sheds light on questions of
how and why Bach himself used the form. Professor Melamed also
finds plenty of evidence that motets and motet style played an
important role in Bach's exploration of the musical past.
This 1995 volume brings together essays on J. S. Bach and members
of his family by a distinguished group of scholars. The essays
address Bach's compositions, his knowledge of the musical past, his
study of contemporaries, and the cultivation of his own music by
later generations. The studies draw on source criticism, musical
analysis, religious and social context, performance practice and
reception history - a broad range of techniques and issues in Bach
scholarship. The international contributors include both
established scholars and newer voices in Bach studies. This volume
will be indispensable for any future work on the Musical Offering,
St Matthew Passion, Italian Concerto, on Bach's musical connections
with his sons Carl Philipp Emanuel and Wilhelm Friedemann and on
many other topics in Bach research.
Applies the notion of musical "voice" to diverse repertoires,
ranging from the operas and cantatas of Handel to the autograph
albums of nineteenth-century collector Charlotte de Rothschild. The
concept of musical voice has been a subject of controversy in
recent decades, as the primacy of the composer's place in the
creation of the work has been called into question. The essays in
Word, Image, and Song: Essays onMusical Voices take the notion of
musical voice as a starting point, and apply it in varying ways to
diverse repertoires and music-historical circumstances, ranging
from the operas and cantatas of Handel to the autograph albums of
nineteenth-century collector Charlotte de Rothschild. Rather than
attributing interpretive control to the composer, performer, or
audience alone, these essays present a range of interpretive
strategies with respect to the various voices that one might hear
and understand as emerging from a musical work: the composer's
voice, the performer's voice, the patron's voice, the collector's
voice, and the social or receptive voice. Contributors: Bathia
Churgin, Rebecca Cypess, Roger Freitas, Philip Gossett, Ellen T.
Harris, Joseph Kerman, Nathan Link, Daniel R. Melamed, Giovanni
Morelli, Kristina Muxfeldt, Ruth Smith, Ruth A. Solie. Rebecca
Cypess is Assistant Professor of Music at the Mason Gross School of
the Arts at Rutgers, the State University of New Jersey. Beth L.
Glixon is instructor in musicology at the University of Kentucky
School of Music. Nathan Link is NEH Associate Professor of Music at
Centre College.
Of all the things we can know about J. S. Bach's Mass in B Minor
and Christmas Oratorio, the most profound come from things we can
hear. Listening to Bach explores musical style as it was understood
in the early eighteenth century. It encourages ways of listening
that that take eighteenth-century musical sensibilities into
account and that recognize our place as inheritors of a long
tradition of performance and interpretation. Daniel R. Melamed
shows how to recognize old and new styles in sacred music of Bach's
time, and how movements in these styles are constructed. This opens
the possibility of listening to the Mass in B Minor as Bach's
demonstration of the possibilities of contrasting, combining, and
reconciling old and new styles. It also shows how to listen for
elements that would have been heard as most significant in the
early eighteenth century, including markers of sleep arias, love
duets, secular choral arias, and other movement types. This offers
a musical starting point for listening for the ways Bach put these
types to use in the Mass in B Minor and the Christmas Oratorio. The
book also offers ways to listen to and think about works created by
parody, the re-use of music for new words and a new purpose, like
almost all of the Mass in B Minor and Christmas Oratorio. And it
shows that modern performances of these works are stamped with
audible consequences of our place in the twenty-first century. The
ideological choices we make in performing the Mass and Oratorio,
part of the legacy of their performance and interpretation, affect
the way the work is understood and heard today. All these topics
are illustrated with copious audio examples on a companion Web
site, offering new ways of listening to some of Bach's greatest
music.
Johann Sebastian Bach's two surviving passions-St. John and St.
Matthew-are an essential part of the modern repertory, performed
regularly both by professional ensembles and amateur groups. These
large, complex pieces are well loved, but due to our distance from
the original context in which they were performed, questions and
problems emerge. Bach scholar Daniel Melamed examines the issues we
encounter when we hear the passions performed today, and offers
unique insight into Bach's passion settings. Rather than providing
a movement-by-movement analysis, Melamed uses the Bach repertory to
introduce readers to some of the intriguing issues in the study and
performance of older music, and explores what it means to listen to
this music today. For instance, Bach wrote the passions for a
particular liturgical event at a specific time and place; we hear
them hundreds of years later, often a world away and usually in
concert performances. They were performed with vocal and
instrumental forces deployed according to early 18th-century
conceptions; we usually hear them now as the pinnacle of the
choral/orchestral repertory, adapted to modern forces and
conventions. In Bach's time, passion settings were revised,
altered, and tampered with both by their composers and by other
musicians who used them; today we tend to regard them as having
fixed texts to be treated mith respect. Their music was sometimes
recycled from other compositions or reused itself for other
purposes; we have trouble imagining the familiar material of Bach's
passion settings in any other guise. Melamed takes on these issues,
exploring everything from the sources that transmit Bach's passion
settings today to the issues surrounding performance practice
(including the question of the size of Bach's ensemble). He delves
into the passions as dramatic music, examines the problem of
multiple versions of a work and the reconstruction of lost pieces,
explores the other passions in Bach's performing repertory, and
sifts through the puzzle of authorship. Highly accessible to the
non-specialist, the book assumes no technical musical knowledge and
does not rely on printed musical examples. Based on the most recent
scholarship and using lucid prose, the book opens up the debates
surrounding this repertory to music lovers, choral singers, church
musicians, and students of Bach's music.
An Introduction to Bach Studies is a comprehensive guide to the
resources and materials of Bach scholarship, both for students
beginning work in the enormous literature on J. S. Bach, and for
the Bach specialist looking for a convenient and up-to-date survey
of the field. Covering a broad range of both primary and secondary
sources, well-known Bach scholars Daniel R. Melamed and Michael
Marissen draw on their extensive research experience to describe
the principal tools of Bach research and how to use them. With
clear descriptions and explanations, the multiple bibliographies
and tables help students and instructors quickly find the most
appropriate sources on Bach's life, his repertory, approaches to
his music, and many other topics. Additionally, this volume
provides insights into potentially confusing sources and detailed
information on the technical topics important to all Bach scholars.
Concise and comprehensive, this user-friendly guide brings
together useful bibliographic resources in one place, and is an
indispensable resource for all who conduct research on Bach.
This annotated bibliography of J.S. Bach studies bring together in one place the most important and useful resources, describes the tools available for Bach research, and provides starting points for reading on many works and topics. Keeping the needs of the beginning Bach scholar firmly in mind, the authors provide concise explanations and summaries of important and potentially confusing topics in Bach research. Topics include bibliographic tools and sources; Bach's world; repertory and editions; vocal and instrumental music; performance; and approaches to Bach's music. The book concludes with detailed indexes of all topics, authors, and titles cited.
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. Volume
8 of Bach Perspectives emphasizes the place of Bach's oratorios in
their repertorial context. These essays consider Bach's oratorios
from a variety of perspectives: in relation to models, antecedents,
and contemporary trends; from the point of view of musical and
textual types; and from analytical vantage points including links
with instrumental music and theology. Christoph Wolff suggests the
possibility that Bach's three festive works for Christmas, Easter,
and Ascension Day form a coherent group linked by liturgy,
chronology, and genre. Daniel R. Melamed considers the many ways in
which Bach's passion music was influenced by the famous poetic
passion of Barthold Heinrich Brockes. Markus Rathey examines the
construction and role of oratorio movements that combine chorales
and poetic texts (chorale tropes). Kerala Snyder shows the
connections between Bach's Christmas Oratorio and one of its
models, Buxtehude's Abendmusiken spread over many evenings.
Laurence Dreyfus argues that Bach thought instrumentally in the
composition of his passions at the expense of certain aspects of
the text. And Eric Chafe demonstrates the contemporary theological
background of Bach's Ascension Oratorio and its musical realization
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About Bach (Hardcover)
Gregory G. Butler, George Stauffer, Mary Dalton Greer; Contributions by Gregory G. Butler, Jen-yen Chen, …
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R1,017
Discovery Miles 10 170
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Ships in 12 - 17 working days
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That Johann Sebastian Bach is a pivotal figure in the history of
Western music is hardly news, and the magnitude of his achievement
is so immense that it can be difficult to grasp. In "About Bach,"
fifteen scholars show that Bach's importance extends from choral to
orchestral music, from sacred music to musical parodies, and also
to his scribes and students, his predecessors and successors.
Further, the contributors demonstrate a diversity of musicological
approaches, ranging from close studies of Bach's choices of musical
form and libretto to wider analyses of the historical and cultural
backgrounds that impinged upon his creations and their lasting
influence. This volume makes significant contributions to Bach
biography, interpretation, pedagogy, and performance.
Contributors are Gregory G. Butler, Jen-Yen Chen, Alexander J.
Fisher, Mary Dalton Greer, Robert Hill, Ton Koopman, Daniel R.
Melamed, Michael Ochs, Mark Risinger, William H. Scheide,
Hans-Joachim Schulze, Douglass Seaton, George B. Stauffer, Andrew
Talle, and Kathryn Welter.
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