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Editorial Reviews
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"...a fascinating glimpse into the use of counterpoint in Bach's music and the implications that technique had in a time when it was rapidly disappearing in favor of newer styles." Music Educators Journal
"This fascinating study explores the significance of Johann Sebastian Bach's learned counterpoint... A significant new voice in Bach studies. Essential." Choice
"This fascinating study explores the significance of Johann Sebastian Bach's learned counterpoint... A significant new voice in Bach studies. Essential." Choice
Product Description
This book offers new interpretations of many of Bach's late compositions which include complex musical techniques such as canon. These techniques held great significance for Bach and his contemporaries not only on account of the great skill they demanded but because of the meanings attached to them. Intricate musical devices were crucial to the Lutheran rituals of death and dying, to alchemy, to Enlightenment philosophies of stylistic change and musical progress, to musical representations of political power, and to the legacy of Bach into our own time.
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› Visit Amazon's David Gaynor Yearsley Page
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Most Helpful Customer Reviews
12 of 16 people found the following review helpful:
5.0 out of 5 stars
Finally someone who fully understands counterpoint!,
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This review is from: Bach and the Meanings of Counterpoint (New Perspectives in Music History and Criticism) (Hardcover)
Truly an excellent study of the meaning behind Bach's use of counterpoint in his treatises on Harmony, Counterpoint, and Fugue. David Yarsley's insightful understanding of tonal counterpoint and how it functions, in conjunction with his great historical perspective, allows him to draw some very interesting and useful conclusions on Bach's works. For example his explanation of Crab Cannon is about as good as it gets and clearly shows his mastery of the material at hand. This book is a must read for any serious composer or lover of Bach.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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First Sentence:
We begin at the end, in July of 1750, with Bach on his deathbed. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
contrapuntal matrix, learned counterpoint, heavenly concert, tota musica, internal canon, double counterpoint, melodic inversion, strict counterpoint, final chorale, invertible counterpoint, oak casket, ars moriendi, musical offering, funeral music Key Phrases - Capitalized Phrases (CAPs): (learn more)
Art of Fugue, Canonic Variations, Frederick the Great, Johann Mattheson, Johann Sebastian Bach, Musicalisches Kunstbuch, New York, Der General-Bass, Walther Briefe, Johann Theile, Critischer Musikus, Vom Himmel, Goldberg Variations, Christoph Wolff, Harmonischer Baum, Heinrich Bokemeyer, Dieterich Buxtehude, Johann Adolph Scheibe, Kritischer Bericht, Andreas Werckmeister, Lorenz Mizler, Philipp Spitta, August Pfeiffer, Heinrich Buttstett, Johann Gottfried Walther New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
We begin at the end, in July of 1750, with Bach on his deathbed. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
contrapuntal matrix, learned counterpoint, heavenly concert, tota musica, internal canon, double counterpoint, melodic inversion, strict counterpoint, final chorale, invertible counterpoint, oak casket, ars moriendi, musical offering, funeral music Key Phrases - Capitalized Phrases (CAPs): (learn more)
Art of Fugue, Canonic Variations, Frederick the Great, Johann Mattheson, Johann Sebastian Bach, Musicalisches Kunstbuch, New York, Der General-Bass, Walther Briefe, Johann Theile, Critischer Musikus, Vom Himmel, Goldberg Variations, Christoph Wolff, Harmonischer Baum, Heinrich Bokemeyer, Dieterich Buxtehude, Johann Adolph Scheibe, Kritischer Bericht, Andreas Werckmeister, Lorenz Mizler, Philipp Spitta, August Pfeiffer, Heinrich Buttstett, Johann Gottfried Walther New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 64
books:
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7
books
cite this book:
See all 7 books citing this book
- Goldberg Variations: Piano Solo (Schirmer's Library of Musical Classics) by Ralph Kirkpatrick on 9 pages
- New Mattheson Studies by George J. Buelow on 5 pages
- Frederick the Great by Robert B. Asprey on 5 pages
- Johann Sebastian Bach by Philip Spitta on 5 pages
- Johann Sebastian Bach by Christoph Wolff on 5 pages
See all 64 books this book cites
- C.P.E. Bach Studies (Cambridge Composer Studies) by Annette Richards on 7 pages
- Mozart Studies (Cambridge Composer Studies) by Simon P. Keefe on page 224, and page 225
- Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism) by Alexander Rehding in Front Matter
- Monteverdi's Unruly Women: The Power of Song in Early Modern Italy (New Perspectives in Music History and Criticism) by Bonnie Gordon in Front Matter
- The Cambridge Companion to the Concerto (Cambridge Companions to Music) by Simon P. Keefe in Front Matter
See all 7 books citing this book
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Bach and the Meanings of Counterpoint (New Perspectives in Music History and Criticism)
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