Melodic Inversion in J. S. Bach's Keyboard Suites
| dc.contributor.author | Linsley, Dennis Edward, 1975- | |
| dc.date.accessioned | 2008-11-11T23:53:34Z | |
| dc.date.available | 2008-11-11T23:53:34Z | |
| dc.date.issued | 2008-06 | |
| dc.description | xiv, 113 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. | en |
| dc.description.abstract | The use of melodic inversion in the second reprises of Bach's keyboard suites is commonly acknowledged. However, no published account gives a detailed explanation of the context-driven nature of such inversion. After discussing the general characteristics of inversion in the English Suites, French Suites, and Partitas, I develop a methodology that describes inverted subjects as transformations of the original subject using three criteria: (1) a scale-degree axis of inversion, (2) a diatonic or chromatic transposition level, and (3) a narrowly-defined but flexibly-applied list of modifications. The application of the method to the opening of each reprise in selected allemandes and courantes reveals salient aspects of Bach's treatment of inverted subjects. A complete analysis of the Allemande from the English Suite in G minor deepens our understanding of Bach's practice by showing how subjects are treated flexibly, and how they can be used in the service of larger goals across an entire piece. | en |
| dc.description.sponsorship | Adviser: Steve Larson | en |
| dc.identifier.uri | https://hdl.handle.net/1794/7770 | |
| dc.language.iso | en_US | en |
| dc.publisher | University of Oregon | en |
| dc.relation.ispartofseries | University of Oregon theses, School of Music and Dance, M.A., 2008; | |
| dc.title | Melodic Inversion in J. S. Bach's Keyboard Suites | en |
| dc.type | Thesis | en |