ON SOME FEATURES OF J.S. BACH’S CLAVIER MUSIC (TO A PROBLEM OF PERFORMING ANALYSIS OF TEXTURE)
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786
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Information about authors: Georgievskaya Olga Vladimirovna, PhD in Art History, Associate Professor, Associate Professor of Department of Musical Art, Institute of Culture and Arts, Moscow City Pedagogical University (Moscow, Russian Federation). E-mail: olgageo@rambler.ru
Annotation: The analysis of some distinguishing characteristics of J.S. Bach’s texture is presented in the article. The example of one section of Bach’s clavier toccata in E minor is given to show them. It is a detailed examination of observed texture phenomena that permits to define fundamental effective forces of music development process and to reveal the interior dialectic of polyphonic and harmonic principles. As it is demonstrated, the universality of composer’s musical thinking is reflected in the texture of the fragment not containing a great number of notes. For instance, a series of texture transformations is described. Initially, unfolding the monophony makes to feel a harmony that is only implied by the melodic line. Then a many-voiced polyphony gradually is unfolded, originated from the same single voice. Finally, traditional polyphony techniques make it possible to emphasize the importance of harmony and to realize the leading force of harmonic hearing. Thereby, there is a significant parallel with global changes of creative musical thinking, the examples of which are given by the history of music. The results of the analysis have a profound effect on our understanding the specific features of Bach’s texture and musical language, his stylistics, as well as texture transformations in music generally. The proposed method of analysis is based on the synthesis of analytic and practical approach, theoretical study of the score and a performer hearing the sounding texture. Opening up the uncharted horizons and new perspectives for scientific research, this point of view is also promising to allow more thorough study and rich interpretation of Bach’s compositions.
Keywords: Bach, texture transformation, polyphony, harmonic hearing, sounding, performing analysis.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Georgievskaya Olga Vladimirovna, PhD in Art History, Associate Professor, Associate Professor of Department of Musical Art, Institute of Culture and Arts, Moscow City Pedagogical University (Moscow, Russian Federation). E-mail: olgageo@rambler.ru
Annotation: The analysis of some distinguishing characteristics of J.S. Bach’s texture is presented in the article. The example of one section of Bach’s clavier toccata in E minor is given to show them. It is a detailed examination of observed texture phenomena that permits to define fundamental effective forces of music development process and to reveal the interior dialectic of polyphonic and harmonic principles. As it is demonstrated, the universality of composer’s musical thinking is reflected in the texture of the fragment not containing a great number of notes. For instance, a series of texture transformations is described. Initially, unfolding the monophony makes to feel a harmony that is only implied by the melodic line. Then a many-voiced polyphony gradually is unfolded, originated from the same single voice. Finally, traditional polyphony techniques make it possible to emphasize the importance of harmony and to realize the leading force of harmonic hearing. Thereby, there is a significant parallel with global changes of creative musical thinking, the examples of which are given by the history of music. The results of the analysis have a profound effect on our understanding the specific features of Bach’s texture and musical language, his stylistics, as well as texture transformations in music generally. The proposed method of analysis is based on the synthesis of analytic and practical approach, theoretical study of the score and a performer hearing the sounding texture. Opening up the uncharted horizons and new perspectives for scientific research, this point of view is also promising to allow more thorough study and rich interpretation of Bach’s compositions.
Keywords: Bach, texture transformation, polyphony, harmonic hearing, sounding, performing analysis.
