CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH

Persistent Link:
http://hdl.handle.net/10150/194278
Title:
CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH
Author:
Park, Chungwon
Issue Date:
2010
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
As the core of virtually all vocal and instrumental composition in the Baroque music, the basso continuo group had an extremely important role in the sacred cantatas by Johann Sebastian Bach (1685-1750). During the Baroque period, the choice of instruments was sometimes indicated by the composer, but frequently the performers had to determine which instruments were most appropriate for the particular environment and context of the music.When performing the sacred cantatas of J.S. Bach, the conductor must identify and make decisions regarding the choices and combinations of instruments for both figured and sustained continuo part. In some cases the conductor may even consider changing continuo instrument(s), movement by movement, in a cantata in which a significant shift occurs in the texture, orchestration, or dramatic function of singer's line. Since Bach's cantatas are an encyclopedia of Baroque musical style, and models of compositional techniques of the time, understanding the cantatas is a practical and effective way to gain understanding regarding his other compositions. These cantatas also present musical challenges and rewards to choirs and orchestras.In an attempt to achieve a greater understanding and establish guidelines, I will examine and propose six principles and parameters regarding choices and combinations of basso continuo instruments and obbligato instruments, examining a variety of movement types from six different sacred cantatas of J.S. Bach ; Christ lag in Todesbanden, BWV 4; Ich hatte viel bekümmernis, BWV 21; Halt im Gedächtnis Jesum Christ, BWV 67; Herr, gehe nicht ins Gericct mit deinem Knecht, BWV 105; Wachet auf, ruft uns die Stimme, BWV 140, and Erschallet, ihr Lieder, BWV 172.This study will include:1) A critical review of performance practice and historical evidence regarding the basso continuo part in Bach's sacred cantatas2) Using "4 TAV System: Six Parameters" performance considerations and suggestions for instrument choices in basso continuo group for chorus, solo, recitative, and chorale movements in the selected cantatas3) Examinations and suggestions of several possible choices and combinations of basso continuo instruments
Type:
text; Electronic Dissertation
Keywords:
Bach Cantata; Baroque Basso Continuo Practice; Basso Continuo; Conductor's Preparation; Johann Sebastina Bach; Performance Practice
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Committee Chair:
Chamberlain, Bruce

Full metadata record

DC FieldValue Language
dc.language.isoenen_US
dc.titleCONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACHen_US
dc.creatorPark, Chungwonen_US
dc.contributor.authorPark, Chungwonen_US
dc.date.issued2010en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractAs the core of virtually all vocal and instrumental composition in the Baroque music, the basso continuo group had an extremely important role in the sacred cantatas by Johann Sebastian Bach (1685-1750). During the Baroque period, the choice of instruments was sometimes indicated by the composer, but frequently the performers had to determine which instruments were most appropriate for the particular environment and context of the music.When performing the sacred cantatas of J.S. Bach, the conductor must identify and make decisions regarding the choices and combinations of instruments for both figured and sustained continuo part. In some cases the conductor may even consider changing continuo instrument(s), movement by movement, in a cantata in which a significant shift occurs in the texture, orchestration, or dramatic function of singer's line. Since Bach's cantatas are an encyclopedia of Baroque musical style, and models of compositional techniques of the time, understanding the cantatas is a practical and effective way to gain understanding regarding his other compositions. These cantatas also present musical challenges and rewards to choirs and orchestras.In an attempt to achieve a greater understanding and establish guidelines, I will examine and propose six principles and parameters regarding choices and combinations of basso continuo instruments and obbligato instruments, examining a variety of movement types from six different sacred cantatas of J.S. Bach ; Christ lag in Todesbanden, BWV 4; Ich hatte viel bekümmernis, BWV 21; Halt im Gedächtnis Jesum Christ, BWV 67; Herr, gehe nicht ins Gericct mit deinem Knecht, BWV 105; Wachet auf, ruft uns die Stimme, BWV 140, and Erschallet, ihr Lieder, BWV 172.This study will include:1) A critical review of performance practice and historical evidence regarding the basso continuo part in Bach's sacred cantatas2) Using "4 TAV System: Six Parameters" performance considerations and suggestions for instrument choices in basso continuo group for chorus, solo, recitative, and chorale movements in the selected cantatas3) Examinations and suggestions of several possible choices and combinations of basso continuo instrumentsen_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectBach Cantataen_US
dc.subjectBaroque Basso Continuo Practiceen_US
dc.subjectBasso Continuoen_US
dc.subjectConductor's Preparationen_US
dc.subjectJohann Sebastina Bachen_US
dc.subjectPerformance Practiceen_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.chairChamberlain, Bruceen_US
dc.contributor.committeememberChamberlain, Bruceen_US
dc.contributor.committeememberSchauer, Elizabethen_US
dc.contributor.committeememberCockrell, Thomasen_US
dc.identifier.proquest11216en_US
dc.identifier.oclc752261061en_US
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