Current Search: Piano (x) » Electronic Thesis or Dissertation (x)
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Title
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The theological roots and historical context of J. S. Bach’s St. Matthew passion, BWV 244.
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Creator
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Hubbard, Tennison, Keaton, Kenneth, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of Music
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Abstract/Description
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History shows that Johann Sebastian Bach (1685-1750) was a devout member of the Lutheran faith. Studying Bach’s life reveals that two sects of Lutheranism were the most influential to him, Orthodoxy and Pietism. A brief historical study of these two sects’ founders and their theology are presented in this document. All of Bach’s compositions are a reflection of his Christian beliefs but none is greater than his St. Matthew Passion. Although Bach is known to be a member of the Orthodox...
Show moreHistory shows that Johann Sebastian Bach (1685-1750) was a devout member of the Lutheran faith. Studying Bach’s life reveals that two sects of Lutheranism were the most influential to him, Orthodoxy and Pietism. A brief historical study of these two sects’ founders and their theology are presented in this document. All of Bach’s compositions are a reflection of his Christian beliefs but none is greater than his St. Matthew Passion. Although Bach is known to be a member of the Orthodox denomination, by observing the parallels between the beliefs of the two sects and the St. Matthew Passion, this document reveals Bach to take a more liberal view. This thesis intends to show that Bach’s St. Matthew Passion is a universal piece of Christian music that transcends religious denomination. Ultimately, Bach’s faith was centered on Jesus Christ and His message.
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Date Issued
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2015
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PURL
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http://purl.flvc.org/fau/fd/FA00004380, http://purl.flvc.org/fau/fd/FA00004380
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Subject Headings
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Bach, Johann Sebastian -- 1685-1750 -- Matthäupassion -- History and criticism, Music -- Religious aspects, Oratorios -- Vocal scores with piano, Passion music -- Criticism and interpretation, Pietism -- Germany
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Format
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Document (PDF)
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Title
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The prepared piano of John Cage: a new level of hearing the Sonatas and Interludes.
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Creator
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Ferreira, Inara de Barros, Dorothy F. Schmidt College of Arts and Letters, Department of Music
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Abstract/Description
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When John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for...
Show moreWhen John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for this preparation. Different modes of listening will be explored through a selection of the Sonatas and Interludes recorded in three different technological systems - conventional AB 2.0, surround 5.1, and Disk Jecklin. The latter allows for a true "surround sound" experience as Cage himself might have heard his own pieces. Included is a compact disc of selections from Sonatas and Interludes recorded in each of the three technological systems.
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Date Issued
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2010
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PURL
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http://purl.flvc.org/FAU/1927866
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Subject Headings
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Cage, John, Criticism and interpretation, Prepared piano music, Music, Aleatory music, History and criticism, Avant-garde (Music), History and criticism
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Format
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Document (PDF)
