J. S. Bach And The German Motet
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Description:
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 c...
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 c...
Description:
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.
Review:
'Melamed writes clearly and gracefully and is adept at articulating subtle gradations of emphasis and probability...The book is a major contribution to our understanding of a much traveled but still incompletely explored area of choral repretory.' Choral Journal 'Melamed's study admirably sets the scene for many new perspectives on Bach and his environment, and presents with exemplary care much new factual detail.' John Butt, Journal of the American Musicological Society
Table of Contents:
List of tables; List of music examples; List of figures; Preface; List of abbreviations; Introduction; Part I. The Term and Concept 'Motet': 1. The term 'motet' in the first half of the eighteenth century; 2. J. S. Bach's use of the term 'motet'; Part II. Bach's Motets: 3. Bach's motets and their relation to the genre; 4. Bach's earlier motets: rethinking authorship and dating; 5. Bach's later motets: rethinking compositional history; 6. Chronology, style, and performance practice of Bach's motets; Part III. Motet Style in Bach's Concerted Compositions: 7. The concept of the motet-like movement; 8. Motet style in Bach's church cantatas; 9. Motet style in Bach's Latin works and oratorios; 10. Bach's use of motet style in concerted works; Part IV. Bach's Contact with Seventeenth-Century Motets: 11. The history of the Altbachisches Archiv; 12. J. S. Bach and the Altbachisches Archiv; 13. Sebastian Knupfer, 'Erforsche mich, Gott'; Appendix; Bibliography; Index of J. S. Bach's works; Index of manuscript music sources; General Index.
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.
Review:
'Melamed writes clearly and gracefully and is adept at articulating subtle gradations of emphasis and probability...The book is a major contribution to our understanding of a much traveled but still incompletely explored area of choral repretory.' Choral Journal 'Melamed's study admirably sets the scene for many new perspectives on Bach and his environment, and presents with exemplary care much new factual detail.' John Butt, Journal of the American Musicological Society
Table of Contents:
List of tables; List of music examples; List of figures; Preface; List of abbreviations; Introduction; Part I. The Term and Concept 'Motet': 1. The term 'motet' in the first half of the eighteenth century; 2. J. S. Bach's use of the term 'motet'; Part II. Bach's Motets: 3. Bach's motets and their relation to the genre; 4. Bach's earlier motets: rethinking authorship and dating; 5. Bach's later motets: rethinking compositional history; 6. Chronology, style, and performance practice of Bach's motets; Part III. Motet Style in Bach's Concerted Compositions: 7. The concept of the motet-like movement; 8. Motet style in Bach's church cantatas; 9. Motet style in Bach's Latin works and oratorios; 10. Bach's use of motet style in concerted works; Part IV. Bach's Contact with Seventeenth-Century Motets: 11. The history of the Altbachisches Archiv; 12. J. S. Bach and the Altbachisches Archiv; 13. Sebastian Knupfer, 'Erforsche mich, Gott'; Appendix; Bibliography; Index of J. S. Bach's works; Index of manuscript music sources; General Index.
| Autor | Melamed, Daniel R. |
|---|---|
| Ilmumisaeg | 2005 |
| Kirjastus | Cambridge University Press |
| Köide | Pehmekaaneline |
| Bestseller | Ei |
| Lehekülgede arv | 248 |
| Pikkus | 247 |
| Laius | 247 |
| Keel | English |
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