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The songs of C. P. E. Bach (Christia...

Youngren, William Thomas Harvey.

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The songs of C. P. E. Bach (Christian Fuerchtegott Gellert, Germany).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The songs of C. P. E. Bach (Christian Fuerchtegott Gellert, Germany)./
作者:	Youngren, William Thomas Harvey.
面頁冊數:	975 p.
附註:	Source: Dissertation Abstracts International, Volume: 61-04, Section: A, page: 1219.
Contained By:	Dissertation Abstracts International61-04A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9967620
ISBN:	0599723645

The songs of C. P. E. Bach (Christian Fuerchtegott Gellert, Germany).
Youngren, William Thomas Harvey.

The songs of C. P. E. Bach (Christian Fuerchtegott Gellert, Germany). - 975 p.

Source: Dissertation Abstracts International, Volume: 61-04, Section: A, page: 1219.

Thesis (Ph.D.)--Brandeis University, 1999.

C. P. E. Bach is not usually thought of as a composer of songs. Most music historians have concentrated their attention on his instrumental works, and particularly on arguing that the forms of those works represent a sort of middle term or "missing link" between the binary forms of baroque music and ternary classical sonata form. Moreover, Haydn, Mozart, and Beethoven, the late-eighteenth-century composers who have, quite rightly, been the main object of scholarly attention, did not write many songs. Therefore music historians have tended to see the modern German-language solo song flourished in North and central Germany during the last two-thirds of the eighteenth century, and C. P. E. Bach was its most distinguished artificer.

ISBN: 0599723645Subjects--Topical Terms:

516178
Music.

The songs of C. P. E. Bach (Christian Fuerchtegott Gellert, Germany).
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245 1 4 $a The songs of C. P. E. Bach (Christian Fuerchtegott Gellert, Germany).
300 $a 975 p.
500 $a Source: Dissertation Abstracts International, Volume: 61-04, Section: A, page: 1219.
500 $a Adviser: Eric T. Chafe.
502 $a Thesis (Ph.D.)--Brandeis University, 1999.
520 $a C. P. E. Bach is not usually thought of as a composer of songs. Most music historians have concentrated their attention on his instrumental works, and particularly on arguing that the forms of those works represent a sort of middle term or "missing link" between the binary forms of baroque music and ternary classical sonata form. Moreover, Haydn, Mozart, and Beethoven, the late-eighteenth-century composers who have, quite rightly, been the main object of scholarly attention, did not write many songs. Therefore music historians have tended to see the modern German-language solo song flourished in North and central Germany during the last two-thirds of the eighteenth century, and C. P. E. Bach was its most distinguished artificer.
520 $a Bach came of age at a time when the strophic song, which had been out of fashion in Germany since the mid-1680s, was experiencing a resurgence. From the beginning, his songs were different from those of his contemporaries. While theirs tended to be rather neat and perky, like much of the new poetry then being written in Germany, his were more speculative and inward-turning. It is thus no surprise that he found his true voice in his 1758 settings of 54 poems by the religious poet Christian Furchtegott Gellert. Though Bach wrote many fine secular songs, it was religious poetry that commanded most of his attention during the remainder of his career.
520 $a In all, he wrote close to 300 songs. Because he was an endlessly experimental composer, they range all the way from simple chorales and ordinary strophic songs, through modified strophic and through-composed songs, to long, cantata-like pieces of a couple of hundred bars. C. P. E. Bach was once famous as a vocal composer, as is proven by the fact that all but a handful of his songs had been published by the time of his death. This portion of his oeuvre has been unjustly ignored.
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