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.identifier.uri |
http://hdl.handle.net/1794/7770 |
|
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.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 |