Title: C.P.E. Bach's "art" and "craft"? : galant schemata and the Rule of the Octave as markers of convention in selected keyboard sonatas and in the Versuch
Source document: Musicologica Brunensia. 2017, vol. 52, iss. 1, pp. 89-100
Extent
89-100
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2017-1-9
Stable URL (handle): https://hdl.handle.net/11222.digilib/136931
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
One of the central issues in the discourse on C. P. E. Bach's music is the relation between the public and private aspects of his work. Recent scholarship on partimenti and galant schemata (Gjerdingen 2007, Sanguinetti 2012) proposes a new view of the craft of eighteenth-century composition: it suggests that composers relied on a limited number of commonplace patterns, in contrast with later notions of the artwork as a uniquely inspired creation. This paper examines case studies from C. P. E. Bach's keyboard sonatas in which galant schemata might serve as markers of conventional "craft" and individualised "artistic" expression. I also comment briefly on Bach's sophisticated manipulations of the conventional Rule of the Octave in his Versuch (1753/1762).
References
[1] BACH, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen. Berlin: Henning / Winter, 1753, 1762. Trans. William J. Mitchell. Essay on the True Art of Playing Keyboard Instruments. New York: W. W. Norton & Company, 1949.
[2] BROWN, Matthew. Explaining Tonality: Schenkerian Theory and Beyond. Rochester, NY: University of Rochester Press, 2005.
[3] BROWN, Matthew. CPE Bach, Schenker, Improvisation, and Composition, Intégral 2010, vol. 24, p. 3–27.
[4] BYROS, Vasili. Foundations of Tonality as Situated Cognition, 1730–1830: An Enquiry into the Culture and Cognition of Eighteenth-Century Tonality with Beethoven's 'Eroica' Sympnony as a Case Study. PhD Dissertation: Yale University, 2009.
[5] BYROS, Vasili. "Hauptruhepuncte des Geistes": Punctuation Schemas and the Late-Eighteenth- Century Sonata. In What is a Cadence?: Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire. Markus Neuwirth – Pieter Bergé (eds). Leuven: Leuven University Press, 2015, p. 215–251.
[6] CAPLIN, William E. Classical form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. NY: Oxford University Press, 1998.
[7] CHRISTENSEN, Thomas, The 'Règle de l'octave' in Thorough-Bass Theory and Practice," Acta Musicologica 1992, vol. 64, p. 91–117. | DOI 10.2307/932911
[8] GJERDINGEN, Robert O. A Classic Turn of Phrase: Music and the Psychology of Convention. Philadelphia: University of Pennsylvania Press, 1988.
[9] GJERDINGEN, Robert O. Music in the Galant Style. NY: Oxford University Press, 2007.
[10] KRAMER, Richard. Unfinished Music. NY: Oxford University Press, 2008.
[11] LESTER, Joel. Compositional Theory in the Eighteenth Century. Cambridge: Harvard University Press, 1992.
[12] MEYER, Leonard B. Style and Music: Theory, History, and Ideology. Chicago: University of Chicago Press, 1989.
[13] RIEPEL, Joseph. Anfangsgründe zur musicalischen Setzkunst (1. Band – De Rhythmopoeïa oder von der Tactordnung). Regensburg: Bader, 1752.
[14] RINK. John. Schenker and Improvisation. Journal of Music Theory 1993, vol. 37, no. 1, p. 1–54. | DOI 10.2307/843943
[15] SÁNCHEZ-KISIELEWSKA, Olga. Claves para el Análisis del Italianismo en la Música Hispana: Esquemas Galantes y Figuras Retóricas en las Misas de Jerusalem y Nebra. Diagonal: An Ibero-American Music Review 2015, vol. 1, no. 1, p. 28–53.
[16] SANGUINETTI, Giorgio. The Art of Partimento: History, Theory, and Practice. NY: Oxford University Press, 2012.
[17] SCHANK, Roger-ABELSON, Robert. Scripts, Plans, Goals, and Understanding: An Inquiry into Homan Knowledge Structures. New York: Halsted, 1977.
[18] SCHENKER, Heinrich. Ein Beitrag zur Ornamentik (Vienna: Universal, 1904/1907). trans. Hedi Siegel, A Contribution to the Study of Ornamentation, Music Forum 1976, vol. 4, p. 1–139.
[19] SCHENKER, Heinrich. Die Kunst der Improvisation, in Das Meisterwerk in der Musik 1. Munich: Drei Masken Verlag, 1925, p. 11–40. Trans. Richard Kramer, The Art of Improvisation, in The Masterwork in Music 1, William Drabkin ed. Cambridge: Cambridge University Press, 1994, p. 2–19.
[20] SCHULENBERG, David. The Music of Carl Philipp Emanuel Bach. Rochester, NY: University of Rochester Press, 2014.
[2] BROWN, Matthew. Explaining Tonality: Schenkerian Theory and Beyond. Rochester, NY: University of Rochester Press, 2005.
[3] BROWN, Matthew. CPE Bach, Schenker, Improvisation, and Composition, Intégral 2010, vol. 24, p. 3–27.
[4] BYROS, Vasili. Foundations of Tonality as Situated Cognition, 1730–1830: An Enquiry into the Culture and Cognition of Eighteenth-Century Tonality with Beethoven's 'Eroica' Sympnony as a Case Study. PhD Dissertation: Yale University, 2009.
[5] BYROS, Vasili. "Hauptruhepuncte des Geistes": Punctuation Schemas and the Late-Eighteenth- Century Sonata. In What is a Cadence?: Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire. Markus Neuwirth – Pieter Bergé (eds). Leuven: Leuven University Press, 2015, p. 215–251.
[6] CAPLIN, William E. Classical form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. NY: Oxford University Press, 1998.
[7] CHRISTENSEN, Thomas, The 'Règle de l'octave' in Thorough-Bass Theory and Practice," Acta Musicologica 1992, vol. 64, p. 91–117. | DOI 10.2307/932911
[8] GJERDINGEN, Robert O. A Classic Turn of Phrase: Music and the Psychology of Convention. Philadelphia: University of Pennsylvania Press, 1988.
[9] GJERDINGEN, Robert O. Music in the Galant Style. NY: Oxford University Press, 2007.
[10] KRAMER, Richard. Unfinished Music. NY: Oxford University Press, 2008.
[11] LESTER, Joel. Compositional Theory in the Eighteenth Century. Cambridge: Harvard University Press, 1992.
[12] MEYER, Leonard B. Style and Music: Theory, History, and Ideology. Chicago: University of Chicago Press, 1989.
[13] RIEPEL, Joseph. Anfangsgründe zur musicalischen Setzkunst (1. Band – De Rhythmopoeïa oder von der Tactordnung). Regensburg: Bader, 1752.
[14] RINK. John. Schenker and Improvisation. Journal of Music Theory 1993, vol. 37, no. 1, p. 1–54. | DOI 10.2307/843943
[15] SÁNCHEZ-KISIELEWSKA, Olga. Claves para el Análisis del Italianismo en la Música Hispana: Esquemas Galantes y Figuras Retóricas en las Misas de Jerusalem y Nebra. Diagonal: An Ibero-American Music Review 2015, vol. 1, no. 1, p. 28–53.
[16] SANGUINETTI, Giorgio. The Art of Partimento: History, Theory, and Practice. NY: Oxford University Press, 2012.
[17] SCHANK, Roger-ABELSON, Robert. Scripts, Plans, Goals, and Understanding: An Inquiry into Homan Knowledge Structures. New York: Halsted, 1977.
[18] SCHENKER, Heinrich. Ein Beitrag zur Ornamentik (Vienna: Universal, 1904/1907). trans. Hedi Siegel, A Contribution to the Study of Ornamentation, Music Forum 1976, vol. 4, p. 1–139.
[19] SCHENKER, Heinrich. Die Kunst der Improvisation, in Das Meisterwerk in der Musik 1. Munich: Drei Masken Verlag, 1925, p. 11–40. Trans. Richard Kramer, The Art of Improvisation, in The Masterwork in Music 1, William Drabkin ed. Cambridge: Cambridge University Press, 1994, p. 2–19.
[20] SCHULENBERG, David. The Music of Carl Philipp Emanuel Bach. Rochester, NY: University of Rochester Press, 2014.