![]() Following successful sign in, you will be returned to Oxford Academic.Do not use an Oxford Academic personal account. When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Hence we learn why it is that his later works are instantly recognizable as ‘Bachian’. In doing so, it attempts to build up a coherent picture of his development as a creative artist, helping us to understand what distinguishes Bach's mature music from his early works and from the music of his predecessors and contemporaries. It also takes account of the remarkable advances in Bach scholarship that have been made over the last fifty years, including the many studies that have appeared relating to various aspects of Bach's early music, such as the varied influences to which he was subjected and the problematic issues of dating and authenticity that arise. As indicated by the subtitle ‘Music to Delight the Spirit’ borrowed from Bach's own title-pages, the book draws attention to another important aspect of the book: not only is it a study of style and technique but also a work of criticism, an analytical evaluation of Bach's music, and an appreciation of its extraordinary qualities. Within each category, the discussion is prefaced by a list of the works to be considered, together with details of their original titles, catalogue numbers, and earliest sources. Each part deals with four categories of composition in turn: large-scale keyboard works preludes, fantasias, and fugues organ chorales and cantatas. ![]() The book is divided into two parts, covering the early works and the mature Weimar compositions, respectively. By studying the music chronologically a coherent picture of the composer's creative development emerges, drawing together all the strands of the individual repertoires (e.g., the cantatas, the organ music, the keyboard music). Bach, covers the earlier part of his composing career, 1695-1717. This first volume, the first of a two-volume study of the music of J. This book gives an account of the individual works of one of the greatest composers.
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