Abstract:Firsthand accounts of what life was like for students attending the prestigious Thomasschule in Leipzig prior to J. S. Bach's appointment as Thomaskantor in 1723 are scarce. The autobiography of Johann Friedrich Fasch (1688–1758) from 1757 contains an informative section on the musical education he received as a teenager in the early eighteenth century. Specifically, Fasch had been a junior musician at the court of Saxony-Weissenfels when the newly appointed Thomaskantor Johann Kuhnau recruited him for Leipzig in 1701. Over fifty years later, and for the benefit of his readership, Fasch weaves an entertaining "From Kapellknabe to Thomaner" character arc into his engaging narrative; it culminates in a humorous anecdote with an unexpected chronological twist. The latter emphasizes the ongoing impact that Kuhnau's rival, Georg Philip Telemann, had on Fasch's overall Kapellmeister career path.
{"title":"Tales from Music School: Johann Friedrich Fasch at the Thomasschule (1701–1707)","authors":"B. Reul","doi":"10.1353/bach.2023.0002","DOIUrl":"https://doi.org/10.1353/bach.2023.0002","url":null,"abstract":"Abstract:Firsthand accounts of what life was like for students attending the prestigious Thomasschule in Leipzig prior to J. S. Bach's appointment as Thomaskantor in 1723 are scarce. The autobiography of Johann Friedrich Fasch (1688–1758) from 1757 contains an informative section on the musical education he received as a teenager in the early eighteenth century. Specifically, Fasch had been a junior musician at the court of Saxony-Weissenfels when the newly appointed Thomaskantor Johann Kuhnau recruited him for Leipzig in 1701. Over fifty years later, and for the benefit of his readership, Fasch weaves an entertaining \"From Kapellknabe to Thomaner\" character arc into his engaging narrative; it culminates in a humorous anecdote with an unexpected chronological twist. The latter emphasizes the ongoing impact that Kuhnau's rival, Georg Philip Telemann, had on Fasch's overall Kapellmeister career path.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46899486","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}
I n Bach Studies: Liturgy, Hymnology, and Theology, Robin Leaver has collected and substantially revised many of his essays on Bach spanning the 1970s to the present, leaving us a compilation that forms something like a Fassung letzter Hand. The volume touches on most of the areas of Bach studies to which Leaver has contributed over the years. The subtitle Liturgy, Hymnology, and Theology reflects this focus and also mirrors the book’s tripartite structure. The essays are a diverse lot, some addressing focused issues that make a quick overview impossible. In my estimation, they also do not represent the absolute best of Leaver’s scholarship on Bach, mostly because that work is either not in essay form or the original essays are still easily available elsewhere. Not included here are, among others, his essays specifically devoted to Bach’s theological library, his two chapters in The Cambridge Companion to Bach on Lutheranism and liturgy, dozens of entries in the Oxford Composer Companion devoted to Bach, and some of his recent work on Bach’s chorales. For obvious reasons, the volume also does not fully reveal Leaver’s many decades of labor as an editor for various publications on Bach, which also often contain his own essays. Yet here one often finds traces of all these writings, sometimes worked into his revisions. Leaver’s lifelong study of Martin
{"title":"Bach Studies: Liturgy, Hymnology, and Theology by Robin A. Leaver (review)","authors":"Derek Stauff","doi":"10.1353/bach.2023.0005","DOIUrl":"https://doi.org/10.1353/bach.2023.0005","url":null,"abstract":"I n Bach Studies: Liturgy, Hymnology, and Theology, Robin Leaver has collected and substantially revised many of his essays on Bach spanning the 1970s to the present, leaving us a compilation that forms something like a Fassung letzter Hand. The volume touches on most of the areas of Bach studies to which Leaver has contributed over the years. The subtitle Liturgy, Hymnology, and Theology reflects this focus and also mirrors the book’s tripartite structure. The essays are a diverse lot, some addressing focused issues that make a quick overview impossible. In my estimation, they also do not represent the absolute best of Leaver’s scholarship on Bach, mostly because that work is either not in essay form or the original essays are still easily available elsewhere. Not included here are, among others, his essays specifically devoted to Bach’s theological library, his two chapters in The Cambridge Companion to Bach on Lutheranism and liturgy, dozens of entries in the Oxford Composer Companion devoted to Bach, and some of his recent work on Bach’s chorales. For obvious reasons, the volume also does not fully reveal Leaver’s many decades of labor as an editor for various publications on Bach, which also often contain his own essays. Yet here one often finds traces of all these writings, sometimes worked into his revisions. Leaver’s lifelong study of Martin","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45891153","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}
Abstract:Theories about old age and the presumed manifestations of a distinctive late style in the works of great creative artists often take the form of abstractions. As proposed by such formidable thinkers past and present as Johann Wolfgang von Goethe, Sir Walter Raleigh, Erik Erikson, André Malraux, Theodor Adorno, and Edward Said, they are frequently expressed as binary opposites or as endpoints on a spectrum: organic Decline (fragmentation and disintegration) vs. metaphysical Transcendence (integration and coherence); Withdrawal vs. Rejuvenation; a Rupture with the past vs. natural Evolution or perhaps a Relapse to an earlier phase of development. Other polarities include Retrospection vs. Innovation and Objective Demonstration vs. Subjective Expression.This essay seeks to determine the relevance of such concepts to Johann Sebastian Bach. It also considers the pertinence of other proposed Late Style attributes to his later life and works: Generativity, Archaization, Asceticism, Death Obsession, and Goethe's cryptic and influential maxim: "Old Age: the Gradual Withdrawal from Appearance." The article suggests that, despite their many undeniable mutual contradictions, these attributes all help illuminate one or the other facet of Bach's extraordinarily multifarious career—not only in his final decades but from the beginning.
{"title":"Late Bach and Late Style Theory","authors":"R. L. Marshall","doi":"10.1353/bach.2023.0000","DOIUrl":"https://doi.org/10.1353/bach.2023.0000","url":null,"abstract":"Abstract:Theories about old age and the presumed manifestations of a distinctive late style in the works of great creative artists often take the form of abstractions. As proposed by such formidable thinkers past and present as Johann Wolfgang von Goethe, Sir Walter Raleigh, Erik Erikson, André Malraux, Theodor Adorno, and Edward Said, they are frequently expressed as binary opposites or as endpoints on a spectrum: organic Decline (fragmentation and disintegration) vs. metaphysical Transcendence (integration and coherence); Withdrawal vs. Rejuvenation; a Rupture with the past vs. natural Evolution or perhaps a Relapse to an earlier phase of development. Other polarities include Retrospection vs. Innovation and Objective Demonstration vs. Subjective Expression.This essay seeks to determine the relevance of such concepts to Johann Sebastian Bach. It also considers the pertinence of other proposed Late Style attributes to his later life and works: Generativity, Archaization, Asceticism, Death Obsession, and Goethe's cryptic and influential maxim: \"Old Age: the Gradual Withdrawal from Appearance.\" The article suggests that, despite their many undeniable mutual contradictions, these attributes all help illuminate one or the other facet of Bach's extraordinarily multifarious career—not only in his final decades but from the beginning.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47026246","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}
Abstract:Baroque music and harpsichords are a well-known inspiration for many Euro-American pop and rock musicians of the 1960s. These old instrument timbres and musical forms pervaded films and television broadcasts, especially for mysterious and creepy scenes or depictions of the aristocracy. This transatlantic phenomenon has been well documented and researched. Previous literature, however, has yet to focus on Johann Sebastian Bach's prominence within these genres beyond a few pieces by the Beatles and Procol Harum. This article, through an examination of contemporary sources (music journalism, liner notes, and recordings), interviews, secondary literature, and conversations with musicians, provides a narrative and comprehensive overview of the role Bach and baroque idioms played in 1960s British pop and rock music. I also provide over a hundred listening suggestions and comments in the appendices.I focus on the aesthetic intentions behind baroque pop and psychedelia, and I aim to show what Bach and baroque music meant to these musicians in the 1960s. By isolating stylistic features at different stages, this article first shows that baroque pop musicians drew on Bach and baroque music to express vague ideas of pastness, nostalgia, and aristocracy in a humorous and playful manner. American pop and rock musicians, particularly African Americans, also inspired many British musicians to copy the stylistic features of contemporary American music (including baroque idioms). This led to the more esoteric British psychedelia stage, where musicians tried to create hybrids that merged rock with baroque and other "exotic" styles. For the second half of the article, I focus on psychedelic instances of Bach's music and baroque-inspired counterpoint and imitative forms. I show how psychedelic musicians were trying to unite a diverse array of styles into a hippie utopian art form called "head" music. Baroque music served as a prestigious vehicle to prove the intellectuality, musicality, and technical competence required for "head" music. Yet, as is typical for most music perceived as hybrid and boundary-crossing, these musicians faced a press backlash for, apparently, pandering to the sounds of "the establishment" and betraying rock's "low" background of intuitive blues rock. Throughout this article I prioritize the perspective of the musicians to demonstrate that pop and rock engagements with Bach and baroque music were not simply for prestige bestowed by "elite" forms from above. Instead, these popular British musicians were drawn to Bach in particular for musical reasons, rather than the more "British" music of George Frideric Handel and Henry Purcell.
{"title":"Baroque Pop and Psychedelia: Bachian Pastness, Prestige, and Hybridity","authors":"Thomas A. Cressy","doi":"10.1353/bach.2023.0001","DOIUrl":"https://doi.org/10.1353/bach.2023.0001","url":null,"abstract":"Abstract:Baroque music and harpsichords are a well-known inspiration for many Euro-American pop and rock musicians of the 1960s. These old instrument timbres and musical forms pervaded films and television broadcasts, especially for mysterious and creepy scenes or depictions of the aristocracy. This transatlantic phenomenon has been well documented and researched. Previous literature, however, has yet to focus on Johann Sebastian Bach's prominence within these genres beyond a few pieces by the Beatles and Procol Harum. This article, through an examination of contemporary sources (music journalism, liner notes, and recordings), interviews, secondary literature, and conversations with musicians, provides a narrative and comprehensive overview of the role Bach and baroque idioms played in 1960s British pop and rock music. I also provide over a hundred listening suggestions and comments in the appendices.I focus on the aesthetic intentions behind baroque pop and psychedelia, and I aim to show what Bach and baroque music meant to these musicians in the 1960s. By isolating stylistic features at different stages, this article first shows that baroque pop musicians drew on Bach and baroque music to express vague ideas of pastness, nostalgia, and aristocracy in a humorous and playful manner. American pop and rock musicians, particularly African Americans, also inspired many British musicians to copy the stylistic features of contemporary American music (including baroque idioms). This led to the more esoteric British psychedelia stage, where musicians tried to create hybrids that merged rock with baroque and other \"exotic\" styles. For the second half of the article, I focus on psychedelic instances of Bach's music and baroque-inspired counterpoint and imitative forms. I show how psychedelic musicians were trying to unite a diverse array of styles into a hippie utopian art form called \"head\" music. Baroque music served as a prestigious vehicle to prove the intellectuality, musicality, and technical competence required for \"head\" music. Yet, as is typical for most music perceived as hybrid and boundary-crossing, these musicians faced a press backlash for, apparently, pandering to the sounds of \"the establishment\" and betraying rock's \"low\" background of intuitive blues rock. Throughout this article I prioritize the perspective of the musicians to demonstrate that pop and rock engagements with Bach and baroque music were not simply for prestige bestowed by \"elite\" forms from above. Instead, these popular British musicians were drawn to Bach in particular for musical reasons, rather than the more \"British\" music of George Frideric Handel and Henry Purcell.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66403216","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}
I magine trying to comprehend J. S. Bach’s achievements if only one of his compositions had survived, not among his greatest, known from a single imperfect source. Such is the case with Bach’s associate Johann Scheibe (168
{"title":"Johann Scheibe: Organ Builder in Leipzig at the Time of Bach by Lynn Edwards Butler (review)","authors":"Laurence Libin","doi":"10.1353/bach.2023.0007","DOIUrl":"https://doi.org/10.1353/bach.2023.0007","url":null,"abstract":"I magine trying to comprehend J. S. Bach’s achievements if only one of his compositions had survived, not among his greatest, known from a single imperfect source. Such is the case with Bach’s associate Johann Scheibe (168","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66403264","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}
Abstract:In the mid-nineteenth century, J. S. Bach's Mass in B Minor was considered an original work in its entirety, but later research revealed that a significant portion of its movements can be traced back to Bach's earlier compositions. With regard to the "Confiteor" movement, however, there is widespread consensus that it is a new composition. In my view, however, the "Confiteor" has two direct models or prototypes, both double fugues: the first fugue of the Toccata in E Minor BWV 914 and the opening movement of Es ist nichts Gesundes an meinem Leibe BWV 25. The relationship between the "Confiteor" and these two earlier double fugues is not parody-like in nature. The transformation here is more profound, more radical, and more complex, and it conforms with the procedures Bach regularly applied in the 1740s to rework his earlier fugues.The first fugue of the Toccata in E Minor resembles the combination section of the "Confiteor" because it combines two themes. While the two themes of the Toccata fugue show significant similarities with the two themes of the "Confiteor," the fugue in the Mass in B Minor is considerably longer, it has an individual structure, and its contrapuntal texture is denser and more complex. The opening movement of Es ist nichts Gesundes an meinem Leibe primarily recalls the exposition of the first theme in the "Confiteor." Just like in the "Confiteor," the double fugue of the cantata has a completely irregular structure. Remarkably, this peculiar structure and the unique combination of the applied procedures deepen the similarities between these two compositions. Both themes of both double fugues appear in stretto expositions; a cantus firmus is integrated into both double fugues; these cantus firmi on both occasions appear in their augmented forms as well; and both fugues present a canon at the fifth. Besides the musical, thematic, and structural similarities, one can detect a possible connection on the textual-conceptual level as well: both movements focus on sins (Sünde / peccata) and on their remission. One of the lines, referring to forgiveness in the cantus firmus in the first movement of the cantata ("Ach Herr, mich armen Sünder"), reappears several times at the end of the "Confiteor" (Vergebung / remissio), emphasizing both sin and its remission.
摘要：在19世纪中期，巴赫的《B小调弥撒曲》被认为是一部完整的原创作品，但后来的研究表明，它的大部分乐章可以追溯到巴赫早期的作品。然而，关于“自信者”运动，人们普遍认为这是一个新的组成部分。然而，在我看来，“Confiteor”有两个直接的模型或原型，都是双赋格曲：《E小调》BWV 914中的托卡塔的第一首赋格曲和《E小调格逊德》BWV 25的开场曲。《Confiteor》和这两首早期的双赋格之间的关系本质上不是戏仿。这里的转变更深刻、更激进、更复杂，符合巴赫在17世纪40年代经常采用的重新创作早期赋格曲的程序。E小调托卡塔的第一首赋格曲类似于“Confiteor”的组合部分，因为它结合了两个主题。虽然托卡塔赋格曲的两个主题与《Confiteor》的两个题材有着显著的相似之处，但《B小调弥撒曲》中的赋格曲要长得多，它有着独特的结构，其对位结构更为密集和复杂。Es ist nichts Gesunde an meinem Leibe的开场乐章主要让人想起《Confiteor》中对第一个主题的阐述。就像《Confiter》中一样，康塔塔的双赋格曲结构完全不规则。值得注意的是，这种独特的结构和应用程序的独特组合加深了这两种成分之间的相似性。两首双赋格曲的两个主题都出现在斯特雷托的作品中；两首双赋格曲都融合了一首坚定的康曲；在这两种场合中，这些康图斯·菲尔米都以它们的扩充形式出现；两首赋格曲都在第五小节演奏正典。除了音乐、主题和结构上的相似性外，人们还可以在文本概念层面上发现一种可能的联系：这两个动作都关注罪恶（Sünde/peccata）和它们的缓解。其中一句话，指的是康塔塔第一乐章中坚定的康塔塔中的宽恕（“Ach Herr，mich armen Sünder”），在“Confiteor”（Vergebung/remisio）的结尾多次出现，强调罪和罪的减轻。
{"title":"Two New Possible Models for the \"Confiteor\" of J. S. Bach's Mass in B Minor","authors":"Zoltán Göncz","doi":"10.1353/bach.2023.0003","DOIUrl":"https://doi.org/10.1353/bach.2023.0003","url":null,"abstract":"Abstract:In the mid-nineteenth century, J. S. Bach's Mass in B Minor was considered an original work in its entirety, but later research revealed that a significant portion of its movements can be traced back to Bach's earlier compositions. With regard to the \"Confiteor\" movement, however, there is widespread consensus that it is a new composition. In my view, however, the \"Confiteor\" has two direct models or prototypes, both double fugues: the first fugue of the Toccata in E Minor BWV 914 and the opening movement of Es ist nichts Gesundes an meinem Leibe BWV 25. The relationship between the \"Confiteor\" and these two earlier double fugues is not parody-like in nature. The transformation here is more profound, more radical, and more complex, and it conforms with the procedures Bach regularly applied in the 1740s to rework his earlier fugues.The first fugue of the Toccata in E Minor resembles the combination section of the \"Confiteor\" because it combines two themes. While the two themes of the Toccata fugue show significant similarities with the two themes of the \"Confiteor,\" the fugue in the Mass in B Minor is considerably longer, it has an individual structure, and its contrapuntal texture is denser and more complex. The opening movement of Es ist nichts Gesundes an meinem Leibe primarily recalls the exposition of the first theme in the \"Confiteor.\" Just like in the \"Confiteor,\" the double fugue of the cantata has a completely irregular structure. Remarkably, this peculiar structure and the unique combination of the applied procedures deepen the similarities between these two compositions. Both themes of both double fugues appear in stretto expositions; a cantus firmus is integrated into both double fugues; these cantus firmi on both occasions appear in their augmented forms as well; and both fugues present a canon at the fifth. Besides the musical, thematic, and structural similarities, one can detect a possible connection on the textual-conceptual level as well: both movements focus on sins (Sünde / peccata) and on their remission. One of the lines, referring to forgiveness in the cantus firmus in the first movement of the cantata (\"Ach Herr, mich armen Sünder\"), reappears several times at the end of the \"Confiteor\" (Vergebung / remissio), emphasizing both sin and its remission.","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45065279","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}
I personally have been waiting for this book for several years, after working with author Annette Richards on Carl Philipp Emanuel Bach: Portrait Collection, in Carl Philipp Emanuel Bach: The Complete Works. The book grew out of her reconstruction of most of the portraits that C. P. E. Bach collected and that were listed in the composer’s estate catalogue in 1790 following his death in December 1788. As Richards points out, “Bach’s was not the only collection of musician portraits known to contemporaries, but it was by far the largest and most significant” (3). Of the 300 or so portraits listed in the estate catalogue, Richards assembled more than two-thirds of them in her edition. I edited the appendices for the Portrait Collection, which included the portraits of C. P. E. Bach and his family, not listed in the estate catalogue, as well as his collection of silhouettes. Richards begins appropriately enough with Charles Burney, who experienced Bach’s collection firsthand when he visited the composer in Hamburg in October 1772:
{"title":"The Temple of Fame and Friendship: Portraits, Music, and History in the C. P. E. Bach Circle by Annette Richards (review)","authors":"Paul E. Corneilson","doi":"10.1353/bach.2023.0006","DOIUrl":"https://doi.org/10.1353/bach.2023.0006","url":null,"abstract":"I personally have been waiting for this book for several years, after working with author Annette Richards on Carl Philipp Emanuel Bach: Portrait Collection, in Carl Philipp Emanuel Bach: The Complete Works. The book grew out of her reconstruction of most of the portraits that C. P. E. Bach collected and that were listed in the composer’s estate catalogue in 1790 following his death in December 1788. As Richards points out, “Bach’s was not the only collection of musician portraits known to contemporaries, but it was by far the largest and most significant” (3). Of the 300 or so portraits listed in the estate catalogue, Richards assembled more than two-thirds of them in her edition. I edited the appendices for the Portrait Collection, which included the portraits of C. P. E. Bach and his family, not listed in the estate catalogue, as well as his collection of silhouettes. Richards begins appropriately enough with Charles Burney, who experienced Bach’s collection firsthand when he visited the composer in Hamburg in October 1772:","PeriodicalId":42367,"journal":{"name":"BACH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48476606","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}
T he music of J. S. Bach has long been the subject of numerical investigations, from the work of Arnold Schering and Friedrich Smend in the early twentieth century to more recent scholarship involving duration, tempo, and compositional architecture. The matter of numbers in Bach took a new musicological turn in 2015 with Ruth Tatlow’s Bach’s Numbers: Compositional Proportion and Significance. In this work, Tatlow aims to provide documentary and numerical evidence that Bach’s published works demonstrate simple internal proportions of 1:1 and 1:2 in measure counts and/or numbers of movements. The response to Tatlow’s work has been mixed, with some scholars praising her work and others being largely critical. In particular, Daniel R. Melamed suggests that many of Tatlow’s claims about intentional, planned proportions are unsupported by documentary evidence, and the numbers likely result from a combination of analytical choices about counting measures/movements and mathematical chance. It is in the context of these discussions that Alan Shepherd’s Let’s Calculate Bach: Applying Information Theory and Statistics to Numbers in Music has arisen, seeking to answer questions not of musicology, but of probability and statistics: namely,
j·s·巴赫的音乐长期以来一直是数值研究的主题，从20世纪初阿诺德·谢林和弗里德里希·斯门德的工作到最近涉及持续时间、速度和作曲结构的学术研究。2015年，露丝·塔特洛(Ruth Tatlow)的《巴赫的数字:作曲比例与意义》(Bach’s numbers: composition Proportion and Significance)使巴赫的数字问题在音乐学上有了新的转折。在这项工作中，Tatlow旨在提供文件和数字证据，证明巴赫出版的作品在小节计数和/或乐章数量上表现出1:1和1:2的简单内部比例。人们对塔特洛的研究褒贬不一，一些学者称赞她的工作，而另一些人则持批评态度。丹尼尔·r·梅拉米德(Daniel R. Melamed)特别指出，塔特洛关于有意的、有计划的比例的许多说法都没有文献证据支持，这些数字可能是关于计数措施/运动和数学机会的分析选择的结合。正是在这些讨论的背景下，艾伦·谢泼德的《让我们计算巴赫:将信息论和统计学应用于音乐中的数字》应运而生，它试图回答的问题不是音乐学，而是概率论和统计学:即，
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Pub Date : 2023-01-01DOI: 10.1353/bach.2023.a907248
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Pub Date : 2023-01-01DOI: 10.1353/bach.2023.a907245
Reviewed by: Music and Urban Life in Baroque Germany by Tanya Kevorkian Janette Tilley (bio) Tanya Kevorkian. Music and Urban Life in Baroque Germany (Charlottesville: University of Virginia Press, 2022). 336 pp. For the past half century or so, early music studies have predominantly oriented themselves toward musical recreation. How well equipped we are today to hear with ears attuned to these antique sounds is a question that has recently come to the fore, and with it, investigations into the broader historical sonic world. Tanya Kevorkian's new volume contributes to this broadening of scope of historical sound studies to investigate the urban musical (and not so musical) landscape of baroque Germany. A methodology and theoretical framework for this work was established by Canadian sound studies pioneers Barry Truax and R. Murray Schafer, who founded the World Soundscape Project at Simon Fraser University in the late 1960s. Over the course of several decades, their research, recording, and creative project married emergent concerns about the state of the environment, both physical and aural, with technology to produce an electroacoustic record of time and space. Project participants were often composers, gathering field recordings, documenting change, and creating innovative works, including site-specific experiences and sound walks, radio programs, and electroacoustic compositions. Composer and early project member Hildegard Westerkamp helped raise the international profile of soundscape studies with the founding of the World Forum for Acoustic Ecology and its publications, the Soundscape Newsletter (1991–1999), WFAE Newsletter (2004–2015), and Soundscape—The Journal of Acoustic Ecology (2000–2019; 2023–present), for which she served as editor until 2012. That it would take some fifty years for fruitful intradisciplinary products to emerge is perhaps not surprising, given the siloed workings of musicology (and historical musicology, especially) from the creative branches of musical research.1 A landmark international [End Page 309] workshop in 2015, "Hearing the City: Musical Experience as Portal to Urban Soundscapes," sponsored by the Catalan Institution for Research and Advanced Studies (ICREA) in Barcelona, examined early modern urban soundscapes and brought the study of acoustic ecology to prominence within early modern musicological studies.2 A year earlier, Alexander J. Fisher framed an examination of urban public musical culture in Counter-Reformation Bavaria with some of the analytical tools that Truax and Schafer had first conceived, and it appears to be this study to which Tanya Kevorkian owes the greatest debt in her book on early modern German music and urban life.3 But while Fisher's study is clearly rooted in musicological traditions, exploring sacred processions, bells, song, and the like, Kevorkian brings a social historian's lens to sound study, exploring the sonic signaling—loud, performative, musical, or military—that filled
书评:坦尼娅·凯沃基安的《巴洛克时期德国的音乐与城市生活》音乐和城市生活在巴洛克德国(夏洛茨维尔:弗吉尼亚大学出版社，2022年)。在过去半个世纪左右的时间里，早期的音乐研究主要以音乐娱乐为导向。我们今天的耳朵有多适合听这些古老的声音，这是一个最近出现的问题，随之而来的是对更广泛的历史声音世界的调查。Tanya Kevorkian的新书有助于拓宽历史声音研究的范围，以调查巴洛克时期德国的城市音乐(和不那么音乐)景观。这项工作的方法论和理论框架是由加拿大声音研究先驱Barry Truax和R. Murray Schafer建立的，他们在20世纪60年代末在西蒙弗雷泽大学创立了世界声景项目。在几十年的时间里，他们的研究、录音和创作项目结合了对自然和听觉环境状况的紧急关注，并利用技术制作了时间和空间的电声记录。项目参与者通常是作曲家，他们收集现场录音，记录变化，并创作创新作品，包括特定地点的体验和声音漫步，广播节目和电声作品。作曲家和早期项目成员Hildegard Westerkamp帮助提高了声景观研究的国际形象，他创办了世界声生态论坛及其出版物，《声景观通讯》(1991-1999)，WFAE通讯(2004-2015)和《声景观-声学生态学杂志》(2000-2019);直到2012年，她一直担任该杂志的编辑。考虑到音乐学(尤其是历史音乐学)从音乐研究的创造性分支中孤立的工作，花了大约50年的时间才出现富有成效的跨学科成果，这也许并不奇怪2015年，由巴塞罗那加泰罗尼亚研究和高级研究机构(ICREA)赞助的具有里程碑意义的国际研讨会“聆听城市:音乐体验作为城市音景的门户”，研究了早期现代城市音景，并在早期现代音乐学研究中突出了声学生态学的研究一年前，Alexander J. Fisher在《反宗教改革的巴伐利亚》中使用了Truax和Schafer最先构想的一些分析工具，对城市公共音乐文化进行了考察，Tanya Kevorkian在她关于早期现代德国音乐和城市生活的书中似乎欠了这个研究最大的债费舍尔的研究显然植根于音乐学传统，探索了神圣的游行、钟声、歌曲等，而凯沃尔基安则用社会历史学家的视角来研究声音，探索了早期现代德国城镇居民耳中的声音信号——大声的、表演的、音乐的或军事的。尽管题目如此，研究的范围是德国一个相对狭窄的地理区域，包括南部和中东部地区的五个城镇。奥格斯堡(Augsburg)和慕尼黑(Munich)这两座巴伐利亚城镇在17世纪和18世纪有着截然不同的公民和宗教环境，它们提醒我们，由于各种历史、地缘政治和宗教原因，地理邻近并不能保证社会相似性。奥格斯堡(Augsburg)是一个两派帝国城镇，其历史重要性在17世纪中叶后逐渐减弱，它仍然是一个地区性的小镇，而不是地区性的强国，与慕尼黑(慕尼黑是选举权力的所在地，也是天主教的据点)形成鲜明对比。再往北一点，位于图林根州和萨克森州的埃尔福特、哥达和莱比锡再次凸显了当地宗教、政治和经济力量如何塑造了声音景观。埃尔福特，像奥格斯堡一样，是一个两派的小城镇，在18世纪仍然有些落后，而哥达，一个公爵的住所，提供了一丝地方宫廷公民生活的曙光。莱比锡是萨克森州的地区重镇，这里有贸易博览会、大学，当然还有教堂。莱比锡被记录得很好，是任何对德国公民生活进行声音分析的基石。沿着图林根-撒克逊走廊选择的城镇也为Kevorkian提供了探索巴赫大家庭的几个成员的机会，他们在各自的城镇中主持了几代人的公民音乐生活。Kevorkian选择不包括汉萨同盟自由城市的北部地区。
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