BACH最新文献

{"title":"Bach: Music in the Castle of Heaven by John Eliot Gardiner (review)","authors":"R. L. Marshall","doi":"10.1353/bach.2014.a808502","DOIUrl":"https://doi.org/10.1353/bach.2014.a808502","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"45 1","pages":"100 - 90"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45725100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Another Woody: J. S. Bach in Dixieland","authors":"P. Broman","doi":"10.22513/bach.50.2.0254","DOIUrl":"https://doi.org/10.22513/bach.50.2.0254","url":null,"abstract":"<p>Abstract:</p><disp-quote><verse-group><verse-line><i>no matter what the season was</i>,</verse-line><verse-line><i>this was still a town</i></verse-line><verse-line><i>that existed in black and white</i></verse-line><verse-line><i>and pulsated to the great tunes</i></verse-line><verse-line><i>of George Gershwin</i>.</verse-line></verse-group></disp-quote><p>This statement by Woody Allen's character Isaac Davis from the beginning of <i>Manhattan</i> (1979) reads like a poem and encapsulates the public perception of Allen's works as set in New York to soundtracks drawing upon the <i>Great American Songbook</i> and Dixieland jazz. Functioning as non-diegetic music—mood-setting background and transitional music connecting scenes—and as diegetic music for social gatherings, the repertoire reflects Allen's own interest in Dixieland music. But just as many of Allen's films are shot outside Manhattan, a large number of his close to fifty auteur films feature western art music, and often prominently so. In these films, classical music often functions as an upper-social-class marker, as characters attend the opera or the symphony, but this repertoire also provides dramatic emphasis or even comic relief. While Allen's classical sound world is dominated by opera and by the classical and Romantic orchestral repertoire, seven of his films feature music by J. S. Bach.</p><p>In this article, I analyze the Bach excerpts—in <i>Alice</i> (1990), <i>Another Woman</i> (1988), <i>Crimes and Misdemeanors</i> (1989), <i>Hannah and Her Sisters</i> (1986), <i>Irrational Man</i> (2015), <i>Melinda and Melinda</i> (2004), and <i>Small Time Crooks</i> (2000)—and show how several of the cues differ from what is perceived to be typical of Allen's soundtracks. Bach's works are used in a wide variety of contexts. For example, they constitute a poignant social commentary, as in their use in the film of Mother Teresa in <i>Alice</i>, and show intertextual relationships with the works of Ingmar Bergman—the filmmaker admired by Allen—in <i>Hannah and Her Sisters</i>. In <i>Irrational Man</i>, the use of Bach is an important aspect of the film: several of the main voice-over narrations, including the film's philosophical underpinnings, occur during Bach's music. Most often, however, Bach cues provide an instant mode change. But there is a paradox in that the jazz repertoire has been carefully chosen, while Bach appears as an afterthought left to a music editor, even for on-the-camera performances, and often in bland, non-significant recordings. But it does not follow that the lack of intention during the production stages diminishes the end result. While for a documentary on Mother Teresa, Mozart's <i>Requiem</i> could have worked as well, the intellectual aspect associated with Bach works particularly well in several films, especially <i>Another Woman</i> and <i>Irrational Man</i>.</p>","PeriodicalId":42367,"journal":{"name":"BACH","volume":" 11","pages":"254 - 274"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41311340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Passion as History, History as Passion","authors":"A. Moore","doi":"10.22513/bach.52.2.0125","DOIUrl":"https://doi.org/10.22513/bach.52.2.0125","url":null,"abstract":"Abstract:In late summer 2000, the International Bachakademie Stuttgart presented four new settings of the Passion of Christ to honor the 250th anniversary of Bach's death. Commissioned from a quartet of internationally respected composers, the terms of the project, titled \"Passion 2000,\" called for each composer to select one of the canonic Gospels, and write a setting in his or her language of origin. The composers were Sofia Gubaidulina, Tan Dun, Osvaldo Golijov, and Wolfgang Rihm. Given the coincidence of the Bach anniversary with the millennium, the four Passion 2000 pieces each dealt with Bach's legacy, but also with the historical weight and expectations of the turn of the millennium and the violence of the receding twentieth century. In this article, I focus on Rihm's setting, Deus Passus: Passions-Stücke nach Lukas, which carried a particular burden as Rihm was constructed as the representative of the German Passion tradition. I argue that Rihm's numerous Bach references, embedded throughout the piece, are not merely allusive, but narrative. Through a close reading of some of the piece's most important movements, I argue that Rihm's Passion joins a long tradition of rethinking the figure of \"Bach,\" who in this piece becomes a symbol of the unresolved past.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"52 1","pages":"125 - 158"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44399286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On Relevance and Repertoire in the Eighteenth-Century Counterpoint Classroom","authors":"Melissa Hoag","doi":"10.22513/BACH.49.2.0388","DOIUrl":"https://doi.org/10.22513/BACH.49.2.0388","url":null,"abstract":"Abstract:This essay, which is equal parts pedagogy and advocacy piece for the study of tonal counterpoint, argues for the relevance of eighteenth-century counterpoint, not only for the training of music majors, but also for today's musical landscape. I outline the method by which I teach my eighteenth-century counterpoint class, with dual emphases on: 1) how I demonstrate and explain to students why studying counterpoint is relevant to their musical training; and 2) my goal of incorporating as much repertoire as possible into the course, which implicitly demonstrates counterpoint's relevance to the construction of all tonal music. Finally, this essay delineates what the study of tonal eighteenth-century counterpoint imparts that species counterpoint does not, and offers some concrete ways to explain this to students. Repertoire covered is enumerated, and the mechanics of assessing both repertoire knowledge and technical knowledge of counterpoint are detailed.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"388 - 401"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47978647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond Bach: Music and Everyday Life in the Eighteenth Century by Andrew Talle (review)","authors":"B. Reul","doi":"10.1353/bach.2018.0008","DOIUrl":"https://doi.org/10.1353/bach.2018.0008","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"164 - 169"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47419191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Previously Unknown Source for the \"Orgelbüchlein\": Yale Misc. Ms. 545","authors":"Emerson Morgan","doi":"10.1353/bach.2011.a820291","DOIUrl":"https://doi.org/10.1353/bach.2011.a820291","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"42 1","pages":"64 - 73"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46844064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Orthodox Lutheranism of Mattheson and Bach","authors":"Joyce L. Irwin","doi":"10.1353/bach.2011.a820306","DOIUrl":"https://doi.org/10.1353/bach.2011.a820306","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"42 1","pages":"70 - 83"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44061979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Popular Music in the Time of J. S. Bach: The Leipzig Mandora Manuscript","authors":"Gary Sampsell","doi":"10.22513/BACH.48.1.0001","DOIUrl":"https://doi.org/10.22513/BACH.48.1.0001","url":null,"abstract":"Research on music-making in Leipzig in the first part of the eighteenth century has traditionally focused on composers such as Johann Kuhnau, Georg Philipp Telemann, and Johann Sebastian Bach, all of whom were associated with institutions. However, the great majority of music-making in Leipzig and other cities occurred in informal settings and seldom found its way into the historical record. This was particularly true when there was no demonstrable connection to a famous composer; as a result, this area has remained relatively unexplored.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"48 1","pages":"1 - 35"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41373865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BACH at 50: Some Anniversary Thoughts","authors":"S. Plank","doi":"10.22513/bach.51.2.0177","DOIUrl":"https://doi.org/10.22513/bach.51.2.0177","url":null,"abstract":"B ACH: Journal of the Riemenschneider Bach Institute made a modest first appearance in the winter of 1970, although as the founding editor, Elinore L. Barber, expressed at the time, “we of the Riemenschneider Bach Institute and Library find ourselves in a chronic state of feverish excitement.” In that first issue, readers would find an enthusiastic editorial asserting Bach’s relevance in the “year of the moon”—Barber arrived at Baldwin-Wallace College in 1969, the time of the Apollo 11 moon landing—a previously unpublished paper and analytical charts by Barber’s mentor, Hans T. David, and a descriptive account of some of the holdings in the Riemenschneider Bach Institute (RBI). A number of things in the first issue foreshadow prominent elements in the years ahead, such as the promotion of the cause of Bach, a mindfulness of elder voices in the field, the reprising of earlier writings, the promotion of the RBI, and source studies. If these are familiar throughout the half century, a look at the span of the journal’s first fifty years nevertheless reveals significant change along the way, as well.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"177 - 185"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49534661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Carl Philipp Emanuel Bach: The Complete Works (review)","authors":"J. Butt","doi":"10.1353/bach.2020.0008","DOIUrl":"https://doi.org/10.1353/bach.2020.0008","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"331 - 337"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47069401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}