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國際標準書號 9780315345485
book jacket
附註 Source: Dissertation Abstracts International, Volume: 47-11, Section: A, page: 3901
Thesis (Ph.D.)--University of Victoria (Canada), 1986
There is a tendency to regard the pianistic reinterpretation of Bach's harpsichord, organ, chamber, and orchestral works as an unfortunate idiosyncracy of the Romantic perception of the music of the past. Accordingly, while much has been written of the resurrection of the choral works, the role of the piano in the Bach revival of the nineteenth century has received little scholarly attention
From the evidence in contemporary letters, diaries, concert reviews, articles, and published versions of his music, this dissertation isolates a number of conventions in Bach interpretation in the nineteenth century and explains the Romantic proclivity for rewriting the Urtexte when transferring them to the piano. In addition, a nomenclature, that takes into account the different compositional techniques employed in the arranging and transcribing of Bach's music, is defined and supported with explications and examples
Chapter 1 surveys the part Bach's music played in romantic pianists' repertoires and establishes the framework for a detailed discussion, in Chapter 2, of performance practices and the various schools of Bach interpretation in the nineteenth century. Chapter 3 focuses on the rewriting of Bach's music and on the techniques utilized in creating an idiomatic piano repertoire from Bach's oeuvre. The emendations to the Urtexte dealt with in Chapter 2 have to do primarily with piano technique, while those considered in Chapter 3 are related more to aesthetic and utilitarian concerns. There is a progression in the sequence of chapters from Bach piano repertoire in general, including works appropriated from other media (Chapter 1), through piano editions of his harpsichord and clavichord works (Chapter 2), to arrangements and transcriptions of his harpsichord, organ, chamber, and orchestral compositions. The final chapter assesses a number of definitions of "arrangements" and "transcriptions," cites their inadequacy, and sets forth new definitions on the basis of the various factors discussed in the preceding two chapters. An extensive biblio-discography of Bach Bearbeitungen, the first of its kind, concludes the dissertation
By exploring the anachronistic conjunction of Bach and the piano, and examining the editions, arrangements, transcriptions, and paraphrases it fostered, this dissertation chronicles the course of a unique relationship between performers and composers and the music of Bach
School code: 0244
Host Item Dissertation Abstracts International 47-11A
主題 Music
Alt Author University of Victoria (Canada)
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