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Index
Contents
Foreword
Preface
Paragram
Part I: Bach’s Vocal Music in Theological Context
Chapter 1: In Honor of God and the City
Chapter 2: Two “Johannine” Cantatas
Chapter 3: Death to Life, Sorrow to Joy
Chapter 4: Toward an Understanding of J. S. Bach’s Use of Red Ink in the Autograph Score of the Matthew Passion
Chapter 5: The Theological in Bach Research (2007)
Part II: Analytical Perspectives
Chapter 6: Formal and Motivic Design in the Opening Chorus of J. S. Bach’s Magnificat
Chapter 7: The Tonally Open Ritornello in J. S. Bach’s Church Cantatas
Chapter 8: The Christian Believer and the Sleep of Jesus
Part III: Bach’s Self-Modeling
Chapter 9: Parody and Text Quality in the Vocal Works of J. S. Bach
Chapter 10: J. S. Bach’s Parodies of Vocal Music
Chapter 11: J. S. Bach’s Dresden Trip and His Earliest Serenatas for Köthen
Chapter 12: Bach’s Second Thoughts on the Christmas Oratorio
Chapter 13: The Passions as a Source of Inspiration?
Part IV: The Reception of Bach’s Vocal Works
Chapter 14: The Leipzig Audiences of J. S. Bach’s Matthew Passion to 1750
Chapter 15: The Vocal Music of the Bach Family in Carl Philipp Emanuel Bach: The Complete Works
Chapter 16: The Need for a New Music
Chapter 17: Bach at the Boundaries of Music History
About the Editors and Contributors
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