Possible orchestral tendencies in registering Johann Sebastian Bach's organ music: an historical perspective

dc.contributor.advisorPearsall, Edwarden
dc.contributor.advisorSpeller, Franken
dc.creatorDykstra, Ruth Elaineen
dc.date.accessioned2008-08-28T21:47:44Zen
dc.date.available2008-08-28T21:47:44Zen
dc.date.issued2004en
dc.descriptiontexten
dc.description.abstractMany books have been written about Johann Sebastian Bach: his life, his music and his legacy. Known unquestionably as the finest organist and composer of organ music of his time, his musical knowledge was not limited to the organ. He wrote in virtually all forms and for all instruments and combinations of instruments. One area of Bach study that remains a mystery for organists is how to register his organ works. In spite of the vast number of works for organ, there are only four or five instances of specific registration suggestions made by Bach. German registrational practices during the first half of the eighteenth century were not well defined because of the great variety of styles of organ building. This treatise examines Bach’s knowledge of design and acoustics, major styles of organs of the period, the various colors available on those organs and Bach’s specific recommendations of registration. Chapter 1 begins with Bach’s early exposure to the organ and his life after the death of his parents. This is followed by study of Bach’s written assessments of organs, all of which provide information of his expectations about organ building. Chapter 2 is a study of organs during Bach’s lifetime and the changes brought about by construction changes as well as changes in taste. The organs of Schnitger, Silbermann and Hildebrandt are examined in depth as representatives of the different styles of the period. Chapter 3 begins with a discussion of the general nature of organ stops, including categories of organ pipes. An assessment of those stops found on the organs that were known to Bach (Appendix A, pp. 110-123) ends the chapter. Chapter 4 commences with a report of organo pleno as a means of registration through the Baroque period. The chapter continues and ends with Bach’s specific registrations and the manner in which they are used. Chapter 5 is an examination of other sources of registrational information from the period—specifically those of Kaufmann, Mattheson, Silbermann, Agricola, Adlung and Marpurg—and how those registrations might be applicable to the music of Bach.
dc.description.departmentMusicen
dc.format.mediumelectronicen
dc.identifierb5893571xen
dc.identifier.oclc57455458en
dc.identifier.proqst3128859en
dc.identifier.urihttp://hdl.handle.net/2152/1123en
dc.language.isoengen
dc.rightsCopyright is held by the author. Presentation of this material on the Libraries' web site by University Libraries, The University of Texas at Austin was made possible under a limited license grant from the author who has retained all copyrights in the works.en
dc.subject.lcshBach, Johann Sebastian,--1685-1750--Organ musicen
dc.subject.lcshOrgan (Musical instrument)--Registrationen
dc.titlePossible orchestral tendencies in registering Johann Sebastian Bach's organ music: an historical perspectiveen
dc.type.genreThesisen

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