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J.S. Bach's chorale settings of modal cantus firmi pose an interesting problem for the modern analyst: What assumptions'modal or tonal'does one bring to the music and what analytic techniques does one use? Are conventional tonal theories adequate to represent the harmonic techniques used in this repertoire? Are conventional modal theories adequate? Lori Burns explores these questions in her
Bach's cantatas are among the highest achievements of Western musical art, yet studies of the individual cantatas that are both illuminating and detailed are few. In this book, noted Bach expert Eric Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these works. A respected theorist of seventeenth-century music, Chafe is sensitive to the composer's intentions and to the enduring and universal qualities of the music itself. Concentrating on a small number of representative cantatas, mostly from the Leipzig cycles of 1723-24 and 1724-25, and in particular on Cantata 77, Chafe shows how Bach strove to mirror both the dogma and the mystery of religious experience in musical allegory. Analyzing Bach Cantatas offers valuable information on the theological relevance of the structure of the liturgical year for the design and content of these works, as well as a survey of the theories of modality that inform Bach's compositional style. Chafe demonstrates that, while Bach certainly employed "pictorialism" and word-painting in his compositions, his method of writing music was a more complex amalgam of theological concepts and music theory. Regarding the cantatas as musical allegories that reflect the fundamental tenets of Lutheran theology as established during Bach's lifetime, Chafe synthesizes a number of key musical and theological ideas to illuminate the essential character of these great works. This unique and insightful book offers an essential methodology for understanding one of the central bodies of work in the Western musical canon. It will prove indispensable for all students and scholars of Bach's work, musicology, and theological studies.
This study of music theory examines in detail the persistence of modal thinking in German-speaking areas, which coexisted with major-minor principles, and its impact on German music from the Baroque through the High Classical period.
On the 250th anniversary of the composer's death, this volume offers an in-depth look at the "Great Eighteen" organ chorales, among the most celebrated works for organ, and a milestone in the history of the chorale. Addressed to organists, scholars, and general listeners alike, this lucid and engaging book examines the music from a wide spectrum of historical and analytical perspectives. Stinson examines the models used by Bach in conceiving the original pieces, his subsequent compilation of these works into a collection, and his compositional process as preserved by the autograph manuscript. Himself an accomplished organist, Stinson also considers various issues of performance practice and concludes with a discussion of the music's reception--its dissemination in manuscript and printed form, its performance history, and its influence on later composers. Completely up-to-date and presenting a wealth of new material, much of it translated into English for the first time, this study will open up fresh perspectives on some of the composer's greatest creations.
This monumental study of Johann Sebastian Bach ranks among the great classics of musicology. Since its first publication in 1873–80, it has remained the basic work on Bach and the foundation of later research and study. The three-part treatment describes in chronological sequence practically everything that is known of the composer's life: his ancestry, his immediate family, his associations, his employers, and the countless occasions on which his musical genius emerged. Author Philipp Spitta accompanies this biographical material with quotations from primary sources: correspondence, family records, diaries, official documents, and more. In addition to biographical data, Spitta reviews Bach's musical production, with analyses of more than 500 pieces, covering all the important works. More than 450 musical excerpts are included in the main text, and a 43-page musical supplement illustrates longer passages. Despite the scholarly nature of this work, it also has the rare distinction of being a study that can be read with considerable enjoyment and great profit by every serious music lover, with or without a substantial background in the history of music or musical theory.
Johann Sebastian Bach produced a remarkable body of works for chorus. He wrote hundreds of cantatas and many other pieces for choir, including motets, oratorios, passions, and liturgical works in Latin. One of these, the celebrated Mass in B Minor, is considered by many to be the crowning glory not merely of Bach's career but of all music ever written.
This book constitutes the thoroughly refereed post-proceedings of the International Computer Music Modeling and Retrieval Symposium, CMMR 2003, held in Montpellier, France, in May 2003. The 20 revised full papers were carefully selected during two rounds of reviewing and improvement. Due to the interdisciplinary nature of the area, the papers address a broad variety of topics including information retrieval, programming, human-computer interaction, digital libraries, hypermedia, artificial intelligence, acoustics, signal processing, etc. The book comes with a CD-ROM presenting supplementary material for the papers included.
This last in a two-volume study examines Bach's musical compositional development in his later years, including his time at Cðthen and Leipzig.