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Published: 01 April 2021
Example 2. Bach, BWV 1043, mvt. 3, mm. 123–37. Example 2. Bach, BWV 1043, mvt. 3, mm. 123–37. More
Journal Article
Journal of Music Theory (2021) 65 (1): 139–169.
Published: 01 April 2021
...Example 2. Bach, BWV 1043, mvt. 3, mm. 123–37. Example 2. Bach, BWV 1043, mvt. 3, mm. 123–37. ...
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Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
...Mark Anson-Cartwright Among the many qualities that set Bach apart from his contemporaries is his manner of transforming his thematic material—most notably his fugue subjects. Bach himself believed that all good fugue writers should know how and when to change (or mutate) their subjects...
Journal Article
Journal of Music Theory (2005) 49 (1): 181–188.
Published: 01 April 2005
...Robert P. Morgan David W. Beach Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study University of Rochester Press, 2005: xiii + 92 pp. ($75.00 cloth) © 2008 by Yale University 2008 Reviews David W. Beach Aspects of Unity in J. S. Bach’s Partitas and Suites...
Journal Article
Journal of Music Theory (2006) 50 (1): 77–101.
Published: 01 April 2006
...Marianne Kielian-Gilbert Intensely chromatic and tonally open, Bach's chorale prelude “Das alte Jahr vergangen ist,” BWV 614, suggests different contexts of reception “as-music-analysis.” I imagine a reception of the prelude as liturgical-musical contemplation and religious experience. I construe...
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Published: 01 April 2021
Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context (2/2). BWV 1043, mvt. 1, mm. 63–66. Example 5. Bach's 4-eighth-pulse accompaniment pattern in the first movement, where it appears in a metrically consonant context More
Image
Published: 01 April 2021
Example 3. Bach's 4-eighth-pulse accompaniment pattern appears immediately before Balanchine's 4-eighth-pulse hops on pointe. BWV 1043, mvt. 3, mm. 123–27. Example 3. Bach's 4-eighth-pulse accompaniment pattern appears immediately before Balanchine's 4-eighth-pulse hops on pointe. BWV 1043 More
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Published: 01 April 2021
Example 4. Bach's 4-eighth-pulse accompaniment pattern, marked by corps dancers' port de bras . BWV 1043, mvt. 3, mm. 47–52. Example 4. Bach's 4-eighth-pulse accompaniment pattern, marked by corps dancers' port de bras. BWV 1043, mvt. 3, mm. 47–52. More
Journal Article
Journal of Music Theory (2006) 50 (1): 103–110.
Published: 01 April 2006
...David Temperley My discussion of Bach's chorale prelude “Das alte Jahr vergangen ist” centers on its key structure: the hierarchical arrangement of keys in the piece and the relationships between them. In the course of this discussion, I make a number of observations about the nature of key...
Journal Article
Journal of Music Theory (2006) 50 (1): 65–76.
Published: 01 April 2006
...William Renwick This essay discusses tonal ambiguity in the chorale melody “Das alte Jahr” and suggests a poetic interpretation of Bach's chorale. Expressive elements such as the passus duriusculus , the sospiro , and pervasive chromaticism are woven into a radical tonal plan that reflects...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... technique has remained on the analytical sidelines can be argued, but what is not debatable is that an understanding of this ubiquitous contrapuntal maneuver is a necessary component of an overall comprehension of tonal music. Featuring examples ranging from J. S. Bach to Puccini, this essay examines...
Journal Article
Journal of Music Theory (2010) 54 (1): 91–105.
Published: 01 April 2010
... Friedman borrowing Bach in Gavotte (1948); Cavell borrowing Emerson versus Berio borrowing Mahler in Sinfonia (1960); and Cavell borrowing Derrida reading Austin versus Richard Beaudoin borrowing Martha Argerich reading Chopin in Étude d'un prélude IV—Black Wires (2009). Cavell's theories of the voice...
Journal Article
Journal of Music Theory (2013) 57 (1): 87–118.
Published: 01 April 2013
... of the piece or reset the durational clocks of the piece for proper cadential closure. Examples range from Handel’s keyboard suites and Concerti Grossi, op. 6, as well as Bach’s English Suites, to Couperin’s B-minor Passacaille and Brahms’s Capriccio, op. 76/2. Channan Willner is acquisitions librarian...
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Published: 01 April 2021
Example 1a. Choreographic 4-layer against the music's 2- and 6-layers (1 = eighth). Dancers' counts are notated above the dance staff. Each dance count “4” is marked choreographically. J. S. Bach, Concerto in D minor for Two Violins, BWV 1043, mvt. 3, mm. 127–30. Example 1a. Choreographic 4 More
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Published: 01 April 2021
Example 1b. Choreographic 3-layer and 4-layer against the music's 2- and 6-layers (1 = eighth, 3/4 meter). The final dance count in each group (“3” or “4”) is marked choreographically (see Video 1 ). J. S. Bach, BWV 1043, mvt. 3, mm. 131–34. Example 1b. Choreographic 3-layer and 4-layer More
Journal Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... of Musicology 2 : 45 –61. ______. 1988 . “C. P. E. Bach and the Early History of the Recapitulatory Tutti in North Germany.” In C. P. E. Bach Studies , ed. Stephen L. Clark. Oxford: Clarendon. Drummond, Pippa. 1980 . The German Concerto: Five Eighteenth-Century Studies . Oxford: Clarendon Press...
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
.... Turning then to Schenker’s analyses, I will argue that the octave lines he discovered in a number of works by J. S. Bach display a simplicity entirely appropriate for deep structural levels, while at the same time they engender strikingly diverse surface designs. Furthermore, Schenker’s analyses hint...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... followed by a stepwise “connect-the-dots” game. An example from C. P. E. Bach illustrates this point. Ex. 1 presents the first part of Bach’s Sonatine nuove, no. 4. Two inter- pretations of the melodic diminution in mm. 1–2 appear in ex. 2. In both analyses, B≤ functions as the main structural pitch...
Journal Article
Journal of Music Theory (2001) 45 (1): 204–227.
Published: 01 April 2001
... expresses the underlying harmony. The “leading” Zug arpeg- 209 giates the harmony; the “follower” goes along passively for the contra- puntal ride. A classic instance is found in mm. 1–19 of Bach’s C-major Prelude (WTC I), as analyzed by Schenker...
Journal Article
Journal of Music Theory (2018) 62 (1): 145–154.
Published: 01 April 2018
... in composition, musicianship, and musicology provided some of the perqui- sites for approaching the Schenkerian legacy appreciatively and discerningly. Schachter’s ultimate allegiances are not to Schenker but to the great compos- ers he adored: Bach, Mozart, Schubert...