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This book is a result of the author’s long engangement with the prelude and fugue in A major of Johann Sebastian Bach. This work’s origins lie deep in theology. The author tries to prove that in this piece of music, Bach expresses point by point the credo as we know it from Bach’s Mass in B minor.

Sacred music --- Johann Sebastian Bach --- Credo

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The Real Life of Sebastian Knight is one of Vladimir Nabokov's most autobiographical novels and it has often been observed that Sebastian's passionate affair with the femme fatale Nina Rechnoy is a dramatized extension of Nabokov's infatuation with Irina Guadanini. In this book it is shown that the novel also conceals another, secluded, love affair Sebastian had with a man, which reflects the main episode in the life of Nabokov's brother Sergey. By pursuing many biographical and literary references and allusions, and by disregarding the deceptive guiding by the narrator (Sebastian's half-brother), this moving story about Sebastian's silent love becomes brightly visible.

Russian literature --- Criticism and interpretation. --- Nabokov, Vladimir Vladimirovich, --- Real life of Sebastian Knight (Nabokov, Vladimir Vladimirovich). --- Russian literature. --- Real life of Sebastian Knight (Nabokov, Vladimir Vladimirovich)

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This book examines the nature of musical performance. In it, Dorottya Fabian explores the contributions and limitations of some of these approaches to performance, be they theoretical, cultural, historical, perceptual, or analytical. Through a detailed investigation of recent recordings of J. S. Bach’s Six Sonatas and Partitas for Solo Violin, she demonstrates that music performance functions as a complex dynamical system. Only by crossing disciplinary boundaries, therefore, can we put the aural experience into words. A Musicology of Performance provides a model for such a method by adopting Deleuzian concepts and various empirical and interdisciplinary procedures. Fabian provides a case study in the repertoire, while presenting new insights into the state of baroque performance practice at the turn of the twenty-first century. Through its wealth of audio examples, tables, and graphs, the book offers both a sensory and a scholarly account of musical performance. These interactive elements map the connections between historically informed and mainstream performance styles, considering them in relation to broader cultural trends, violin schools, and individual artistic trajectories. A Musicology of Performance is a must read for academics and post-graduate students and an essential reference point for the study of music performance, the early music movement, and Bach’s opus.

Music --- Violin --- Performance. --- Bach, Johann Sebastian, --- Criticism and interpretation. --- music --- musicology

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A free ebook version of this title is available through Luminos, University of California Press's new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues-some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier-C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on ";Jesus Christus unser Heiland,"; BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.

Fugue. --- MUSIC / Genres & Styles / Classical. --- Canons, fugues, etc. --- Fugues --- Counterpoint --- Musical form --- History and criticism --- Bach, Johann Sebastian, --- Keyboard music (Bach, Johann Sebastian) --- 18th century fugues. --- 18th century music. --- bach. --- classical music. --- clavichord music. --- fugue in c major. --- fugue in c minor. --- fugues. --- harpsichord music. --- history of music. --- intimate fugues. --- keyboard composition. --- keyboard music. --- music appreciation. --- music composition. --- music theory. --- musical analysis. --- musical commentary. --- musical scores. --- musicology. --- organ music. --- organ toccatas. --- piano keyboard. --- studies in classical music. --- technical music analysis. --- the well tempered clavier. --- Fugue --- Music --- General

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Instruments constitute a classic member of the thematic role inventory, yet they are usually analyzed only peripherally, taking a back seat to the more studied members such as Agent and Patient. This dissertation investigates the semantic reality behind the label instrument from the functionalist perspective of Role & Reference Grammar. Starting from a theoretical investigation of what instrumentality truly means when contrasted with related concepts like comitatives, this book explores the morphosyntactic realization of instruments across a wide range of typologically diverse languages. Apart from the standard occurrences of instruments that come to mind from languages such as Latin, German or English, this book delves into several less common constructions that feature the instrument relation. Such constructions include, amongst others, passives with instruments and particularly the Instrument-Subject Alternation, a construction where the instrument seemingly appears as the subject of the sentence. This construction displays variation along three dimensions: 1) The instrument can vary from a very simple tool to a complicated machine, 2) the predicate can vary substantially and 3) languages differ widely with respect to the construction's acceptability. This makes for a complex playing field where the animacy of the instrument but also the aktionsart class of the predicate play a major role. The last section of this book deals with linking the semantics of instruments and related concepts to their morphosyntactic realizations, including the various encoding strategies that are available in any given language. This book also features a concise introduction to Role & Reference Grammar. Dissertations in Language and Cognition: This series explores issues of mental representation, linguistic structure and representation, and their interplay. The research presented in this series is grounded in the idea explored in the Collaborative Research Center 'The structure of representations in language, cognition and science' (SFB 991) that there is a universal format for the representation of linguistic and cognitive concepts.

LANGUAGE ARTS & DISCIPLINES / General. --- Agents. --- Causees. --- Comitatives. --- Die Struktur von Repräsentationen in Sprache, Kognition und Wissenschaft. --- Force Dynamics. --- Forces. --- Functionalism. --- Generalized Causative Relations. --- Gerhard Schurz. --- Hana Filip. --- Heinrich-Heine-Universität Düsseldorf. --- Helping causation. --- Implements. --- Instrument-Subject Alternation. --- Instruments. --- Laura Kallmeyer. --- Lexical Decomposition. --- Linking Algorithm. --- Mapping to Morphosyntax. --- Passives with instruments. --- Peter Indefrey. --- Robert D. Van Valin, Jr. --- Role & Reference Grammar. --- SFB 991. --- Sebastian Löbner. --- Semantics of Causation. --- Sonderforschungsbereich 991. --- Strength of causation. --- The structure of representations in language, cognition and science. --- Typology.