Abstract:Johann Sebastian Bach's settings of the passion originated in a cultural context that was rich with numerous forms of devotion to the Passion of Christ. The Good Friday Vespers, during which Bach's passions were originally performed, were only one occasion when Leipzigers commemorated the suffering and death of Christ. Devotional texts encouraged early modern Lutherans to meditate on the passion throughout their daily lives. The multifaceted and multisensory forms of passion devotion can be seen in a number of texts that were published in the years surrounding the first performance of the St. John Passion in 1724. After a short exploration of the circumstances of the endowment of the Good Friday Vespers at the Leipzig St. Nicholas Church and an analysis of a multisensory passion manual by Abraham Wiegner (Nöthige Freytags-Arbeit), the essay focuses on an anonymous text (Christliche und Moralische Reflexiones), published in 1724, that interprets the passion narrative from the perspective of practical morality. The text was prefaced by Leipzig Superintendent Salomon Deyling, who also preached the sermons during Bach's passion performances. Both the anonymous text and Deyling's preface bring into sharper relief the multifaceted forms of passion devotion in Leipzig during the time of the creation and first performance of Bach's major passions. The texts shed new light on the image-rich language of Bach's passions as well as on the focus on the individual in the libretti for his passions. But the analysis also shows significant differences. While Bach's passions emphasize personal devotion and a more internalized form of piety, the Christliche und Moralische Reflexiones are informed by Enlightenment philosophy and theology and view religion (and the passion in particular) as a model for a moral life. In spite of these differences, the texts also show that these divergent views coexisted peacefully in Bach's Leipzig. In fact, in the final version of Bach's St. John Passion from 1749, some of the texts were changed in a way that brought them in line with the views of Enlightenment theology.
{"title":"Memory, Morals, and Contemplation in Leipzig Passion Texts from the 1720s: J. S. Bach's St. John Passion from 1724","authors":"Markus Rathey","doi":"10.1353/bach.2020.0005","DOIUrl":"https://doi.org/10.1353/bach.2020.0005","url":null,"abstract":"Abstract:Johann Sebastian Bach's settings of the passion originated in a cultural context that was rich with numerous forms of devotion to the Passion of Christ. The Good Friday Vespers, during which Bach's passions were originally performed, were only one occasion when Leipzigers commemorated the suffering and death of Christ. Devotional texts encouraged early modern Lutherans to meditate on the passion throughout their daily lives. The multifaceted and multisensory forms of passion devotion can be seen in a number of texts that were published in the years surrounding the first performance of the St. John Passion in 1724. After a short exploration of the circumstances of the endowment of the Good Friday Vespers at the Leipzig St. Nicholas Church and an analysis of a multisensory passion manual by Abraham Wiegner (Nöthige Freytags-Arbeit), the essay focuses on an anonymous text (Christliche und Moralische Reflexiones), published in 1724, that interprets the passion narrative from the perspective of practical morality. The text was prefaced by Leipzig Superintendent Salomon Deyling, who also preached the sermons during Bach's passion performances. Both the anonymous text and Deyling's preface bring into sharper relief the multifaceted forms of passion devotion in Leipzig during the time of the creation and first performance of Bach's major passions. The texts shed new light on the image-rich language of Bach's passions as well as on the focus on the individual in the libretti for his passions. But the analysis also shows significant differences. While Bach's passions emphasize personal devotion and a more internalized form of piety, the Christliche und Moralische Reflexiones are informed by Enlightenment philosophy and theology and view religion (and the passion in particular) as a model for a moral life. In spite of these differences, the texts also show that these divergent views coexisted peacefully in Bach's Leipzig. In fact, in the final version of Bach's St. John Passion from 1749, some of the texts were changed in a way that brought them in line with the views of Enlightenment theology.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"51 1","pages":"44 - 69"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44753377","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}
Pub Date : 2022-01-01DOI: 10.1353/bach.2015.a808471
Evan Cortens
{"title":"\"Durch die Music gleichsam lebendig vorgestellet\": Graupner, Bach, and \"Mein Herz schwimmt im Blut\"","authors":"Evan Cortens","doi":"10.1353/bach.2015.a808471","DOIUrl":"https://doi.org/10.1353/bach.2015.a808471","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"46 1","pages":"110 - 74"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43115794","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}
Pub Date : 2022-01-01DOI: 10.22513/bach.48-49.2-1.0002
C. Wolff
It is a great honor and privilege to dedicate the following remarks to the memory of Gustav Leonhardt, whom I knew since the 1960s and whose passing in 2012 we still deeply mourn. What he and the Leonhardt Consort achieved was nothing short of a radical break with the conventions of Early Music performance. In the nineteenth century, Bach was played romantically and this standard persisted in the early twentieth century. Whether by continuing or curtailing this approach, the factual, “sewing machine” Bach was born. Leonhardt and his followers, however, did not think of Bach from the nineteenth-century perspective, but from that of the seventeenth century, from the overwhelmingly fertile, expressive time of Heinrich Schütz, Dieterich Buxtehude, and Jan Pieterszoon Sweelinck. Leonhardt’s searching and penetrating mind built the foundation for a new and true approach toward understanding the language of music and toward translating their vocabulary, syntax, and style in the act of performance on the appropriate keyboard instruments. The name Leonhardt stands for fighting the widespread amateurism that had prevailed for so long in the Early Music scene. It stands for discovering new sources and also for looking beyond the printed and seemingly reliable “Urtext” of well-known works by examining and learning from the composer’s autographs, original manuscripts, and early prints. It stands for asking new questions. It stands for opening a dialogue between performers and scholars, a dialogue that should never end. Finally, it stands for balancing the repertoire of indisputable giants like Bach against lesser known and less marketable figures. Emphasizing other names like Sweelinck, Johann Jacob Froberger, Ercole Pasquini, or Antoine Forqueray sheds light on important contexts, cross-currents, and in fact much music that was quite new in the business of Early Music
我非常荣幸地向古斯塔夫·莱昂哈特发表以下讲话，以纪念他。我自20世纪60年代以来就认识他，我们至今仍深切哀悼他于2012年去世。他和莱昂哈特王妃所取得的成就无异于彻底打破了早期音乐表演的传统。在十九世纪，巴赫被浪漫地演奏，这种标准一直延续到二十世纪初。无论是通过继续还是减少这种方法，巴赫诞生了事实上的“缝纫机”。然而，莱昂哈特和他的追随者们并不是从19世纪的角度来看待巴赫的，而是从17世纪的角度，从海因里希·舒尔茨、迪特里希·布克斯图德和扬·皮特松·斯韦林克极其丰富和富有表现力的时代来看待巴赫。Leonhardt的探索和敏锐的头脑为理解音乐语言以及在适当的键盘乐器上表演时翻译其词汇、语法和风格的新的、真实的方法奠定了基础。Leonhardt这个名字代表着与早期音乐界长期盛行的广泛业余主义作斗争。它代表着发现新的来源，也代表着通过检查和学习作曲家的签名、原始手稿和早期版画，超越印刷品和看似可靠的知名作品“Urtext”。它代表提出新的问题。它代表着开启表演者和学者之间的对话，这种对话永远不应该结束。最后，它代表着平衡巴赫等无可争辩的巨人与鲜为人知、不太有市场的人物的曲目。强调其他名字，如Sweelinck、Johann Jacob Froberger、Ercole Pasquini或Antoine Forqueray，可以揭示重要的背景、交叉流，事实上，还有许多早期音乐领域的新音乐
{"title":"The Leonhardt Connection From Sweelinck to Bach: Links and Gaps Between Historic “Makers of Organists”","authors":"C. Wolff","doi":"10.22513/bach.48-49.2-1.0002","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0002","url":null,"abstract":"It is a great honor and privilege to dedicate the following remarks to the memory of Gustav Leonhardt, whom I knew since the 1960s and whose passing in 2012 we still deeply mourn. What he and the Leonhardt Consort achieved was nothing short of a radical break with the conventions of Early Music performance. In the nineteenth century, Bach was played romantically and this standard persisted in the early twentieth century. Whether by continuing or curtailing this approach, the factual, “sewing machine” Bach was born. Leonhardt and his followers, however, did not think of Bach from the nineteenth-century perspective, but from that of the seventeenth century, from the overwhelmingly fertile, expressive time of Heinrich Schütz, Dieterich Buxtehude, and Jan Pieterszoon Sweelinck. Leonhardt’s searching and penetrating mind built the foundation for a new and true approach toward understanding the language of music and toward translating their vocabulary, syntax, and style in the act of performance on the appropriate keyboard instruments. The name Leonhardt stands for fighting the widespread amateurism that had prevailed for so long in the Early Music scene. It stands for discovering new sources and also for looking beyond the printed and seemingly reliable “Urtext” of well-known works by examining and learning from the composer’s autographs, original manuscripts, and early prints. It stands for asking new questions. It stands for opening a dialogue between performers and scholars, a dialogue that should never end. Finally, it stands for balancing the repertoire of indisputable giants like Bach against lesser known and less marketable figures. Emphasizing other names like Sweelinck, Johann Jacob Froberger, Ercole Pasquini, or Antoine Forqueray sheds light on important contexts, cross-currents, and in fact much music that was quite new in the business of Early Music","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"2 - 8"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43221880","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}
Pub Date : 2022-01-01DOI: 10.1353/bach.2010.a820314
Timothy Edwards
{"title":"The Royal Theme's Hidden Symmetry: In Defense of the Concise Solution to the Augmentation Canon in J. S. Bach's \"Musical Offering\"","authors":"Timothy Edwards","doi":"10.1353/bach.2010.a820314","DOIUrl":"https://doi.org/10.1353/bach.2010.a820314","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"41 1","pages":"1 - 31"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43297892","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:Many master's degrees in music require at least one theory course for all students. Variously titled Introduction to Graduate Theory, Analytical Techniques, or Graduate Theory and Analysis, such courses can be challenging to teach due to the varying majors, skills, and interests represented. These students need to synthesize and apply undergraduate-level theoretical concepts while also learning more sophisticated tools and techniques. One way to accomplish this is through a unit on select concepts from Schenkerian analysis. Teaching students to construct harmonic reductions can effectively introduce (or reinforce) tonal hierarchy—the most fundamental concept in Heinrich Schenker's theory. While simplifying a texture to show harmonic rhythm and voice leading is not unique to Schenkerians, such reductions enable discussion of advanced concepts including hierarchical levels, prolongation, and motivic parallelisms. Asking students to embellish a harmonic framework further reinforces these concepts.This article outlines a course module that teaches foundational Schenkerian concepts through the analysis of select chorales, figuration preludes, and unaccompanied solo works by J. S. Bach. While prolongation and voice leading can be taught with nearly any common-practice repertoire, studying these three particular genres in this order helps students transfer principles they know from part writing to music with more complex textures. Starting with the chorales allows for a rapid review of figured bass, dissonance types, and voice leading. Continuing with harmonic reduction of figuration preludes demonstrates the link between part writing and repertoire. Concluding with the reduction and elaboration of compound melodies highlights the intricate connection between melody and harmony in Bach's unaccompanied works. This unit on Bach's music helps students move past individual notes and isolated chords into a deeper, more dynamic understanding of how tonality shapes phrases, sections, and pieces.
{"title":"Introduction to Graduate Theory: Teaching Tonal Hierarchy through Bach","authors":"Samantha M. Inman","doi":"10.22513/bach.49.2.0345","DOIUrl":"https://doi.org/10.22513/bach.49.2.0345","url":null,"abstract":"Abstract:Many master's degrees in music require at least one theory course for all students. Variously titled Introduction to Graduate Theory, Analytical Techniques, or Graduate Theory and Analysis, such courses can be challenging to teach due to the varying majors, skills, and interests represented. These students need to synthesize and apply undergraduate-level theoretical concepts while also learning more sophisticated tools and techniques. One way to accomplish this is through a unit on select concepts from Schenkerian analysis. Teaching students to construct harmonic reductions can effectively introduce (or reinforce) tonal hierarchy—the most fundamental concept in Heinrich Schenker's theory. While simplifying a texture to show harmonic rhythm and voice leading is not unique to Schenkerians, such reductions enable discussion of advanced concepts including hierarchical levels, prolongation, and motivic parallelisms. Asking students to embellish a harmonic framework further reinforces these concepts.This article outlines a course module that teaches foundational Schenkerian concepts through the analysis of select chorales, figuration preludes, and unaccompanied solo works by J. S. Bach. While prolongation and voice leading can be taught with nearly any common-practice repertoire, studying these three particular genres in this order helps students transfer principles they know from part writing to music with more complex textures. Starting with the chorales allows for a rapid review of figured bass, dissonance types, and voice leading. Continuing with harmonic reduction of figuration preludes demonstrates the link between part writing and repertoire. Concluding with the reduction and elaboration of compound melodies highlights the intricate connection between melody and harmony in Bach's unaccompanied works. This unit on Bach's music helps students move past individual notes and isolated chords into a deeper, more dynamic understanding of how tonality shapes phrases, sections, and pieces.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"345 - 364"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48186284","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}
Pub Date : 2022-01-01DOI: 10.22513/bach.48-49.2-1.0048
Jed Wentz
Abstract:Keyboardist and conductor Gustav Maria Leonhardt was arguably one of the most influential figures in the late twentieth-century Early Music movement. Through his numerous recordings and extensive teaching he transmitted an aesthetic for the performance of seventeenth-and eighteenth-century music that still influences the reception and production of Early Music today. This article argues that aspects of that aesthetic can be traced to Protestant ideologies of Bach performance prevalent in Germany at the turn of the twentieth century as promoted by certain members of the Neue Bachgesellschaft. The ardent attempts of these theologians and musicologists to return J. S. Bach’s church cantatas to the Evangelical service in Germany (here referred to as the kirchliche Bachbewegung) were linked to ideals of a performance style free from ego and virtuosity. It was believed that by performing the cantatas in a pious spirit, returning them to the service in acts of selfless devotion, the dangerous doctrine of l’art pour l’art could be repudiated. Musicians would then bring spiritual renewal to the German people through Bach’s art. These ideals of performance were taken over and adjusted to the Dutch Calvinist situation by members of the Nederlandse Bachvereniging (Netherlands Bach Society). Leonhardt himself attributed his decision to become a musician to his youthful association with this society. However, rather than ascribing Leonhardt’s absorbtion of key principles of performance to some form of religious indoctrination, it is argued here that his fervent personal Protestant faith formed him to a manner of thinking much in sympathy with the ideals of the Nederlandse Bachvereniging.
{"title":"On the Protestant Roots of Gustav Leonhardt’s Performance Style","authors":"Jed Wentz","doi":"10.22513/bach.48-49.2-1.0048","DOIUrl":"https://doi.org/10.22513/bach.48-49.2-1.0048","url":null,"abstract":"Abstract:Keyboardist and conductor Gustav Maria Leonhardt was arguably one of the most influential figures in the late twentieth-century Early Music movement. Through his numerous recordings and extensive teaching he transmitted an aesthetic for the performance of seventeenth-and eighteenth-century music that still influences the reception and production of Early Music today. This article argues that aspects of that aesthetic can be traced to Protestant ideologies of Bach performance prevalent in Germany at the turn of the twentieth century as promoted by certain members of the Neue Bachgesellschaft. The ardent attempts of these theologians and musicologists to return J. S. Bach’s church cantatas to the Evangelical service in Germany (here referred to as the kirchliche Bachbewegung) were linked to ideals of a performance style free from ego and virtuosity. It was believed that by performing the cantatas in a pious spirit, returning them to the service in acts of selfless devotion, the dangerous doctrine of l’art pour l’art could be repudiated. Musicians would then bring spiritual renewal to the German people through Bach’s art. These ideals of performance were taken over and adjusted to the Dutch Calvinist situation by members of the Nederlandse Bachvereniging (Netherlands Bach Society). Leonhardt himself attributed his decision to become a musician to his youthful association with this society. However, rather than ascribing Leonhardt’s absorbtion of key principles of performance to some form of religious indoctrination, it is argued here that his fervent personal Protestant faith formed him to a manner of thinking much in sympathy with the ideals of the Nederlandse Bachvereniging.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"48 - 92"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41824516","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 Routledge Research Companion to Johann Sebastian Bach ed. by Robin A. Leaver (review)","authors":"Bettina Varwig","doi":"10.1353/bach.2018.0010","DOIUrl":"https://doi.org/10.1353/bach.2018.0010","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"151 - 157"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46644228","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}
In February 2013 the Bach Collegium Japan, under the direction of Masaaki Suzuki, came to the end of their project of performing and recording all the sacred cantatas of Bach with concerts in Kobe and Tokyo of three cantatas: Freue dich, erlöste Schar (BWV 30), Lobe den Herrn, meine Seele (BWV 69), and Gloria in excelsis Deo (BWV 191).1 This was a significant milestone and I was invited to give pre-concert lectures before the two performances. Since a video disk charting the progress of the whole series, focusing on these final concerts, has recently been issued, it seems like the right time to make these lectures accessible.2 The first pre-concert lecture was given in Kobe Shoin Women’s University Chapel on 23 February, and the second at Tokyo Opera City Concert Hall on the following day. They are given here in lightly edited versions.
2013年2月，日本巴赫学院在铃木雅明的指导下，结束了他们在神户和东京举行的三场音乐会，演奏和录制了巴赫所有神圣的康塔塔:Freue dich, erlöste Schar (BWV 30)， Lobe den Herrn, meine Seele (BWV 69)和Gloria In excelsis Deo (BWV 191)这是一个重要的里程碑，我被邀请在两场演出之前做音乐会前的讲座。由于最近发行了一个记录整个系列的进展情况的光盘，重点是这些最后的音乐会，现在似乎是时候把这些讲座提供给大家了第一次音乐会前讲座于2月23日在神户Shoin女子大学教堂举行，第二次于第二天在东京歌剧城音乐厅举行。这里给出的是经过轻微编辑的版本。
{"title":"Bach Cantatas: in Print and Recordings","authors":"R. Leaver","doi":"10.22513/BACH.48.1.0093","DOIUrl":"https://doi.org/10.22513/BACH.48.1.0093","url":null,"abstract":"In February 2013 the Bach Collegium Japan, under the direction of Masaaki Suzuki, came to the end of their project of performing and recording all the sacred cantatas of Bach with concerts in Kobe and Tokyo of three cantatas: Freue dich, erlöste Schar (BWV 30), Lobe den Herrn, meine Seele (BWV 69), and Gloria in excelsis Deo (BWV 191).1 This was a significant milestone and I was invited to give pre-concert lectures before the two performances. Since a video disk charting the progress of the whole series, focusing on these final concerts, has recently been issued, it seems like the right time to make these lectures accessible.2 The first pre-concert lecture was given in Kobe Shoin Women’s University Chapel on 23 February, and the second at Tokyo Opera City Concert Hall on the following day. They are given here in lightly edited versions.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"48 1","pages":"114 - 93"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48003178","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}
[This work] represents the content of courses on the history of choral literature taught to hundreds of upper-level undergraduate and graduate students during my tenure at the University of Illinois at Urbana-Champaign . . . . The classes were always multisemester units . . . . The emphasis was on covering representative composers and genres to establish paradigms that would serve these students throughout their careers . . . . I am constantly, often painfully, aware of how much is left unsaid, despite the genuine desire to be as thorough as possible . . . . In my classes, such gaps were routinely filled by individual research projects, and I expect the same result to ensue here.1
{"title":"A History of Western Choral Music by Chester L. Alwes (review)","authors":"M. Unger","doi":"10.1353/bach.2017.0006","DOIUrl":"https://doi.org/10.1353/bach.2017.0006","url":null,"abstract":"[This work] represents the content of courses on the history of choral literature taught to hundreds of upper-level undergraduate and graduate students during my tenure at the University of Illinois at Urbana-Champaign . . . . The classes were always multisemester units . . . . The emphasis was on covering representative composers and genres to establish paradigms that would serve these students throughout their careers . . . . I am constantly, often painfully, aware of how much is left unsaid, despite the genuine desire to be as thorough as possible . . . . In my classes, such gaps were routinely filled by individual research projects, and I expect the same result to ensue here.1","PeriodicalId":42367,"journal":{"name":"BACH","volume":"48 1","pages":"115 - 125"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43172665","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：