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Informationen zum Autor Mark A. Peters is professor of music at Trinity Christian College.Reginald L. Sanders is professor of music at Kenyon College. Klappentext Compositional Choices and Meaning in the Vocal Music of J. S. Bach collects seventeen essays by leading Bach scholars. The authors each address in some way such questions of meaning in J. S. Bach's vocal compositions-including his Passions, Masses, Magnificat, and cantatas-with particular attention to how such meaning arises out of the intentionality of Bach's own compositional choices or (in Part IV in particular) how meaning is discovered, and created, through the reception of Bach's vocal works. And the authors do not consider such compositional choices in a vacuum, but rather discuss Bach's artistic intentions within the framework of broader cultural trends-social, historical, theological, musical, etc. Such questions of compositional choice and meaning frame the four primary approaches to Bach's vocal music taken by the authors in this volume, as seen across the book's four parts: Part I: How might the study of historical theology inform our understanding of Bach's compositional choices in his music for the church (cantatas, Passions, masses)? Part II: How can we apply traditional analytical tools to understand better how Bach's compositions were created and how they might have been heard by his contemporaries? Part III: What we can understand anew through the study of Bach's self-borrowing (i.e., parody), which always changed the earlier meaning of a composition through changes in textual content, compositional characteristics, the work's context within a larger composition, and often the performance context (from court to church, for example)? Part IV: What can the study of reception teach us about a work's meaning(s) in Bach's time, during the time of his immediate successors, and at various points since then (including our present)?The chapters in this volume thus reflect the breadth of current Bach research in its attention not only to source study and analysis, but also to meanings and contexts for understanding Bach's compositions. Zusammenfassung Compositional Choices and Meaning in the Vocal Music of J. S. Bach collects seventeen essays by leading Bach scholars. The essays explore Bach’s sacred vocal music from the perspectives of historical theology, music analysis, the study of parody procedures, and reception history. Inhaltsverzeichnis Series Editor ForewordRobin A. LeaverPrefaceMark A. Peters and Reginald L. Sanders Paragram for Professor Dr. Don O. FranklinRuth TatlowPart I: Bach's Vocal Music in Theological Context1. In Honor of God and the City: Strategies of Theological and Symbolic Communication in Bach's Cantata Gott ist mein König (BWV 71)Markus Rathey2. Two "Johannine" Cantatas: Darzu ist erschienen der Sohn Gottes (BWV 40) and Sehet, welch eine Liebe (BWV 64)Eric Chafe3. Death to Life, Sorrow to Joy: Martin Luther's Theology of the Cross and J. S. Bach's Eastertide Cantata Ihr werdet weinen und heulen (BWV 103)Mark A. Peters4. Toward an Understanding of J. S. Bach's Use of Red Ink in the Autograph Score of the Matthew PassionMary Greer5. The Theological in Bach Research (2007)Martin PetzoldtPart II: Analytical Perspectives6. Formal and Motivic Design in the Opening Chorus of J. S. Bach's MagnificatReginald L. Sanders7. The Tonally Open Ritornello in J. S. Bach's Church CantatasKayoung Lee8. The Christian Believer and the Sleep of Jesus: "Mache dich, mein Herze, rein" from J. S. Bach's Matthew PassionWye J. Allanbrook Part III: Bach's Self-Modeling: Parody as Compositional Impetus9. Parody and Text Quality in the Vocal Works of J. S. BachHans-Joachim Schulze10. J. S. Bach's Parodies of Vocal Music: Conservation or Intensification?Robin A. Leaver11. J. S. Bach's Dresden Trip and His Earliest Serenatas for KöthenGregory Butler12. Bach's Second Thoughts on the Christmas ...
