Scholars and performers have long noted J.S. Bach's abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach's music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque. An insightful look at how composers build on each other's work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance. Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf

In this work, nine scholars track Johann Sebastian Bach's reputation in America from an artist of relative obscurity to a cultural mainstay whose music has spread to all parts of the population, inspired a wealth of scholarship, captivated listeners, and inspired musicians.

Among his numerous children, Johann Sebastian Bach sired five musically gifted sons. The eleventh volume of Bach Perspectives presents essays that explore these men’s lives and careers via distinctive and, in several cases, alternative and interdisciplinary methodologies. Robert L. Marshall traces how each of the sons grappled with—and at times suffocated beneath—their illustrious father’s legacy. Mary Oleskiewicz’s essay investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court, while David Schulenberg looks at Carl Philipp Emanuel Bach’s diverse and innovative keyboard works. Evan Cortens digs into everything from performance materials to pay stubs to offer a detailed view of the business of Carl Philipp Emanuel Bach’s liturgical music. Finally, Christine Blanken discusses how the rediscovery of Bach family musical manuscripts in the Breitkopf archive opens up new perspectives on familiar topics. A supplemental companion website is now available for Bach Perspectives 11. This resource features additional images, captions, and short descriptions to provide an essential supplement to the printed text.

The official publication of the American Bach Society, Bach Perspectives pioneers new areas of research into the life, times, and music of the master composer. In Volume 10 of the series, Matthew Dirst edits a collection of groundbreaking essays exploring various aspects of Bach's organ-related activities. Lynn Edwards Butler reconsiders Bach's report on Johann Scheibe's organ at St. Paul's Church in Leipzig. Robin Leaver clarifies the likely provenance and purpose of a collection of chorale harmonizations copied in Dresden. George Stauffer investigates the ways various independent trio movements served Bach as an artist and teacher. In separate contributions, Christoph Wolff and Gregory Butler seek the origins of concerted Bach cantata movements spotlighting the organ and propose family trees of both parent works and offspring. Finally, Matthew Cron provides a broad cultural frame for such pieces and notes how their components engage in a larger discourse about the German Baroque organ's intimation of heaven.

In Bach's Germany musical counterpoint was an art involving much more than the sophisticated use of advanced compositional techniques. A range of theological, cultural, social and political meanings attached themselves to the use of complex procedures such as canon and double counterpoint. This book explores the significance of Bach's counterpoint in a range of interrelated contexts: its use as a means of reflecting on death; its parallels to alchemy; its vexed status in the galant music culture of the first half of the eighteenth century; its value as a representation of political power; and its central importance in the creation of Bach's image in the nineteenth and twentieth centuries. Touching on a wide array of contemporary literary, philosophical, critical, and musical texts, the book includes new readings of many of Bach's late works in order to re-evaluate the status and meaning of counterpoint in Bach's work and legacy.

Johann Sebastian Bach was a Lutheran and much of his music was for Lutheran liturgical worship. As these insightful essays in the twelfth volume of Bach Perspectives demonstrate, he was also influenced by--and in turn influenced--different expressions of religious belief. The vocal music, especially the Christmas Oratorio, owes much to medieval Catholic mysticism, and the evolution of the B minor Mass has strong Catholic connections. In Leipzig, Catholic and Lutheran congregations sang many of the same vernacular hymns. Internal squabbles were rarely missing within Lutheranism, for example Pietists' dislike of concerted church music, especially if it employed specific dance forms. Also investigated here are broader issues such as the close affinity between Bach's cantata libretti and the hymns of Charles Wesley; and Bach's music in the context of the Jewish Enlightenment as shaped by Protestant Rationalism in Berlin. Contributors: Rebecca Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey, Derek Stauff, and Janice B. Stockigt.

Reverence for J. S. Bach's music and its towering presence in our cultural memory have long affected how people hear his works. In his own time, however, Bach stood as just another figure among a number of composers, many of them more popular with the music-loving public. Eschewing the great composer style of music history, Andrew Talle takes us on a journey that looks at how ordinary people made music in Bach's Germany. Talle focuses in particular on the culture of keyboard playing as lived in public and private. As he ranges through a wealth of documents, instruments, diaries, account ledgers, and works of art, Talle brings a fascinating cast of characters to life. These individuals--amateur and professional performers, patrons, instrument builders, and listeners--inhabited a lost world, and Talle's deft expertise teases out the diverse roles music played in their lives and in their relationships with one another. At the same time, his nuanced re-creation of keyboard playing's social milieu illuminates the era's reception of Bach's immortal works.

Publisher Description

From long before the Trojan War to the ethnic cleansings of our own century, people have often used their potential to treat other human beings as things. It is this treatment of another person as a thing rather than as a human being that the eminent psychoanalyst, Dr. Sheldon Bach, sees as a perversion of object relationships and that forms the background of this powerful book. Perversion is a lack of capacity for whole object love, and while this includes the sexual perversions it also includes certain character perversions, character disorders and psychotic conditions. Dr. Bach's clinical work has led him to conclude that sexual perversions are generally inconsistent with whole object love. Therapeutic experience suggests that the pathways to object love may be strewn with outgrown and discarded sexual perversions. But whether a sexual perversion per se exists or not, the issue of how it happens that one person can degrade another to the status of a thing is an issue of importance not only for the psychoanalysis of character but for our larger understanding of human nature as well. Perversions are attempts to simplistically resolve or defend against some of the central paradoxes of human existence. How is it possible for us to be born of someone's flesh yet be separate from them, or to live in one's own experience yet observe oneself from the outside? How are we able to deal with feelings of being both male and female, child and adult, or to negotiate between the worlds of internal and external stimulation? People with perversions have special difficulty in dealing with the ambiguity of human relationships. They have not developed the transitional psychic space that would allow them to contain paradox, making it difficult for them to recognize the reality and legitimacy of multiple points of view. Thus they tend to think in either/or dichotomies, to search for dominant/submissive relationships and to perceive the world from idiosyncratically subjective or coldly objective perspectives. In this

Publisher's description: "This book presents new perspectives on the Vietnam War, its global repercussions, and the role of this war in modern history. The volume reveals 'America's War' as an international event that reverberated all over the world: in domestic settings of numerous nation-states, combatants and non-combatants alike, as well as in transnational relations and alliance systems. The volume thereby covers a wide geographical range-from Berkeley and Berlin to Cambodia and Canberra. The essays address political, military, and diplomatic issues no less than cultural and intellectual consequences of 'Vietnam'. The authors also set the Vietnam War in comparison to other major conflicts in world history; they cover over three centuries, and develop general insights into the tragedies and trajectories of military conflicts as phenomena of modern societies in general. For the first time, 'America's War' is thus depicted as a truly global event whose origins and characteristics deserve an interdisciplinary treatment."