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The author achieves a dual purpose in this volume: "To portray the mind of the master, his peculiarly anachronistic culture in an epoch of change," and "to trace Bach's application of venerable philosophies—musical as well as theological—to a musical equipment technically so much in advance of his time." Mr. Chiapusso accordingly explores Bach's Lutheran education, the philosophers and writers available to him, and the influence of scientific thought on his faith and work. He finds that at the dawn of the Enlightenment, when traditional culture was giving way to new ideas, Bach retained an essentially medieval world view, exercising his art "for the glory of God." An understanding of this world view is essential, Mr. Chiapusso demonstrates, to the full appreciation of Bach's music, its spiritual foundations, and its impressive technical innovations. In this context the author goes on to examine such problems as Bach's attitude toward instrumentation, his ornamentation, his use of symbolism, his use of secular music in the church, and his borrowing of ecclesiastical music for secular purposes. A valuable addition to the history of music and ideas.

Bach, Johann Sebastian, --- Bach, Johann Sebastian. --- Bach, Johann Sebastian --- 1685-1750 --- Bach, G. S., --- Bach, Giovanni Sebastiano, --- Bach, I. S., --- Bach, Iohann Sebastian, --- Bach, J. S. --- Bach, Jan Sebastian, --- Bach, Jean Sébastien, --- Bach, Joh. Seb. --- Bach, John Sebastian, --- Bach, Juan S., --- Bachas, J. S., --- Bahha, J. S., --- Bahha, Yohan Sebasutian, --- Bahs, Johans Sebatjans, --- Bakh, Ĭ. S. --- Bakh, Iogann Sebastian, --- Bakh, Ĭokhan Sebastian, --- Bakh, Y. S., --- Bakh, Yohan Sebasṭyan, --- Pa-ha, Te, --- Bach, Jean-Sébastien --- באך, יוהן סבסטיאן --- Western "classical" music --- Art music, orchestral & formal music

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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. --- Violin playing --- Violin music --- Musical performance --- Performance of music --- Interpretation (Phrasing, dynamics, etc.) --- Bach, Johann Sebastian --- Bakh, Iogann Sebastian, --- Bakh, Y. S., --- Bach, Jean Sébastien, --- Bach, G. S., --- Bach, Jan Sebastian, --- Bachas, J. S., --- Bach, J. S. --- Bahs, Johans Sebatjans, --- Pa-ha, Te, --- Bakh, Ĭ. S. --- Bakh, Ĭokhan Sebastian, --- Bach, Joh. Seb. --- Bakh, Yohan Sebasṭyan, --- Bach, Iohann Sebastian, --- Bahha, J. S., --- Bahha, Yohan Sebasutian, --- Bach, I. S., --- Bach, Juan S., --- Bach, John Sebastian, --- Bach, Giovanni Sebastiano, --- באך, יוהן סבסטיאן --- music --- musicology