Bach Interpretation: Articulation Marks in Primary Sources by John Butt

By John Butt

This examine is a accomplished review of J. S. Bach's use of articulation marks (i.e. slurs and dots) within the huge physique of basic resources. Dr Butt analyses the position of such markings in the compositional strategy, how they relate to the norms of articulation of the interval, and the way they could support us in a deeper realizing and evaluate of Bach's type. With its huge catalogue of the most typical slurring styles according to a research of over a hundred concerted vocal works, this ebook is important either for performers on all baroque tools, and for students with an curiosity in Bach's variety and resource experiences. It additionally contributes to our notion of Bach's place in song historical past: the aim of track within the Lutheran Germany of Bach's time and its rhetorical strength; the shut dating among composer and performer in the context of 'practical' track; and the services and improvement of notation.

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Indeed, the suggestive relationship of marked/unmarked to atypical/prototypical, figure/ground, or foreground/background "suggests < previous page page_35 next page > < previous page page_36 next page > Page 36 that markedness may be a useful concept for describing the organization of society, culture, and the arts'' (Battistella, 1990: 5). I turn now to such considerations with respect to music. Markedness and Music A familiar opposition for music is that between major and minor modes in the Classical style.

4.  164-70. 5. Maximal oppositions of pitch and sonority in typical Landini under-third cadences. syntactic closure; it signals a more positive expressive closure for the coda through a clear affirmation of its own, reinforcing the positive ending in D major. These interpretive considerations leap beyond the current discussion, however, and will be pursued in later chapters. 16 The historical development of harmonic cadences offers an illuminating example of markedness in the development of stylistic types.

Determining such correlations could become a flawed enterprise if one attempted to create a vocabulary of expressive types that had relatively fixed and overly precise meanings (as in Deryck Cooke, 1959). On the other hand, one can find general (type) correlations that are well established for certain sonoritiescorrelations that may apply even when the sonority is encountered in a minimally defined context. One such example is the diminished-seventh sonority, mentioned earlier. The opening of Beethoven's String Quartet in C, Op.

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