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Towards a formal paradigm for the Bach Cello suite preludes : a study of the history, theory, origins, and organization of Bach's Preludes to BWV 1007-1012, and implications for their performance

Author: Eric Kutz; Johann Sebastian Bach
Publisher: ©2002.
Dissertation: D.M.A. Juilliard School 2002
Edition/Format:  Thesis/dissertation : Thesis/dissertation : Manuscript  Archival Material : English
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Genre/Form: Academic theses
Criticism, interpretation, etc
Named Person: Johann Sebastian Bach; Johann Sebastian Bach; Friederich Erhardt Niedt; Johann Sebastian Bach; Friederich Erhardt Niedt
Material Type: Thesis/dissertation, Manuscript
Document Type: Book, Archival Material
All Authors / Contributors: Eric Kutz; Johann Sebastian Bach
OCLC Number: 49911108
Notes: Typescript (photocopy).
Includes abstract and autobiographical note.
Description: [x], 146 leaves, bound : music ; 28 cm
Contents: Introduction --
Formal and historical overview of the prelude. Definition ; History from the Greeks to Bach ; History after Bach ; Conclusion --
Improvisation's role in the prelude. Definition ; Compositional ramifications of improvisation ; The prelude as a distinct improvisational genre ; Conclusion --
Rhetoric as an organizing principle. Definition ; Ricercare and the history of rhetoric ; The composer as orator ; Peripeteia ; Rhetoric in Bach's time ; Conclusion --
Thoroughbass as a basis for composition and improvisation. The importance of thoroughbass to Bach ; Bach's use of thoroughbass in improvisational preludes ; The influence of Niedt ; The "pattern prelude" ; French manuals on improvisational preludes ; Thoroughbass reduction and source materials ; Conclusion --
The dominant pedal as a feature of thoroughbass and rhetoric --
"Heightened intensity" as organizing principle. Heightened intensity explained ; Heightened intensity in the Cello suite preludes ; Conclusion --
Specific features in Prelude five. The Fifth suite as "French" suite ; The pairing of prelude and fugue in the Fifth suite ; Conclusion --
Performance implications --
Conclusion --
Appendix A: The six Cello suite preludes --
Appendix B: Thoroughbass reductions in conjunction with the actual music --
Appendix C: Thoroughbass reductions of the six Cello suite preludes.
Responsibility: by Eric Kutz.

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Definition ; History from the Greeks to Bach ; History after Bach ; Conclusion -- Improvisation\'s role in the prelude. Definition ; Compositional ramifications of improvisation ; The prelude as a distinct improvisational genre ; Conclusion -- Rhetoric as an organizing principle. Definition ; Ricercare and the history of rhetoric ; The composer as orator ; Peripeteia ; Rhetoric in Bach\'s time ; Conclusion -- Thoroughbass as a basis for composition and improvisation. The importance of thoroughbass to Bach ; Bach\'s use of thoroughbass in improvisational preludes ; The influence of Niedt ; The \"pattern prelude\" ; French manuals on improvisational preludes ; Thoroughbass reduction and source materials ; Conclusion -- The dominant pedal as a feature of thoroughbass and rhetoric -- \"Heightened intensity\" as organizing principle. Heightened intensity explained ; Heightened intensity in the Cello suite preludes ; Conclusion -- Specific features in Prelude five. The Fifth suite as \"French\" suite ; The pairing of prelude and fugue in the Fifth suite ; Conclusion -- Performance implications -- Conclusion -- Appendix A: The six Cello suite preludes -- Appendix B: Thoroughbass reductions in conjunction with the actual music -- Appendix C: Thoroughbass reductions of the six Cello suite preludes.<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\nschema:exampleOfWork<\/a> <http:\/\/worldcat.org\/entity\/work\/id\/39155208<\/a>> ;\u00A0\u00A0\u00A0\nschema:genre<\/a> \"Criticism, interpretation, etc.<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\nschema:genre<\/a> \"Academic theses<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\nschema:inLanguage<\/a> \"en<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Towards a formal paradigm for the Bach Cello suite preludes : a study of the history, theory, origins, and organization of Bach\'s Preludes to BWV 1007-1012, and implications for their performance<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\nschema:productID<\/a> \"49911108<\/span>\" ;\u00A0\u00A0\u00A0\nschema:publication<\/a> <http:\/\/www.worldcat.org\/title\/-\/oclc\/49911108#PublicationEvent\/2002<\/a>> ;\u00A0\u00A0\u00A0\nwdrs:describedby<\/a> <http:\/\/www.worldcat.org\/title\/-\/oclc\/49911108<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

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<http:\/\/experiment.worldcat.org\/entity\/work\/data\/39155208#CreativeWork\/suites<\/a>> # Suites,<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:CreativeWork<\/a> ;\u00A0\u00A0\u00A0\nschema:creator<\/a> <http:\/\/viaf.org\/viaf\/12304462<\/a>> ; # Johann Sebastian Bach<\/span>\n\u00A0\u00A0\u00A0\nschema:name<\/a> \"Suites,<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/experiment.worldcat.org\/entity\/work\/data\/39155208#Person\/bach_johann_sebastian_1685_1750<\/a>> # Johann Sebastian Bach<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1685<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"1750<\/span>\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Bach<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Johann Sebastian<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Johann Sebastian Bach<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/39155208#Person\/niedt_friederich_erhardt_1674_1708<\/a>> # Friederich Erhardt Niedt<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1674<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"1708<\/span>\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Niedt<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Friederich Erhardt<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Friederich Erhardt Niedt<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/39155208#Topic\/music_18th_century_philosophy_and_aesthetics<\/a>> # Music--18th century--Philosophy and aesthetics<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:hasPart<\/a> <http:\/\/id.loc.gov\/authorities\/subjects\/sh85088768<\/a>> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Music--18th century--Philosophy and aesthetics<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/id.loc.gov\/authorities\/classification\/MT131<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/id.loc.gov\/authorities\/subjects\/sh89002975<\/a>> # Music--18th century--History and criticism<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Music--18th century--History and criticism<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/id.worldcat.org\/fast\/876756<\/a>> # Continuo<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Continuo<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/viaf.org\/viaf\/12304462<\/a>> # Johann Sebastian Bach<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1685<\/span>\" ;\u00A0\u00A0\u00A0\nschema:deathDate<\/a> \"1750<\/span>\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Bach<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Johann Sebastian<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Johann Sebastian Bach<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/viaf.org\/viaf\/69147118259926341650<\/a>> # Eric Kutz<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Kutz<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Eric<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Eric Kutz<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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