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- Tatlow, Ruth, 1956-
(författare)
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Bach's Compositional Unity Reworked by Chopin.
- 2018
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Ingår i: Conference title: Bach bearbeitet.. - Tübingen, Germany.
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Konferensbidrag (refereegranskat)abstract
- Contemporary letters and documents show that Fryderyck Chopin studied and performed the two books of Bach’s Well-Tempered Clavier. We know Chopin had a copy of these preludes and fugues on his desk when he composed his own set of 24 Preludes in the 1830s. But we do not know which aspects of Bach’s collection inspired Chopin. In this paper I will consider if the structure and proportional ordering in Bach’s Well-Tempered Clavier influenced Chopin as he made decisions about the form and structure of his 24 Preludes, and how Chopin reworked Bach to recreate compositional unity in his own collection.J. S. Bach created compositional unity in all of his publications and fair copies with layers of perfect 1:1 and 1:2 proportion in the bar structure, using a technique that I have termed proportional parallelism (Tatlow, Bach’s Numbers: Compositional Ordering and Significance. Cambridge, 2015, 2016). In doing so, Bach was imitating the example set by God when He created the Universe, which, many then believed, was ordered using the proportions of the perfect musical intervals: 1:1, the perfect unison, 1:2 the perfect octave, 2:3 the perfect fifth, and 3:4, the perfect fourth. Some of Bach’s Lutheran predecessors and contemporaries also occasionally used this kind of proportioning in their compositions. More significantly, though, so did several of Bach’s sons and students. This raises many questions about the origins, transmission, and meaning of the technique. Did it disappear when ideas changed, and Bach’s students and grand-students died? Was it transmitted into the 19th century from teacher to student? Did 19th century composers notice Bach’s ordering when they studied his scores, and was it sufficiently important for them to imitate or make their own? And if so, did they do to create compositional unity?
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- Tatlow, Ruth, 1956-
(författare)
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Bach's Numbers : Compositional Proportion and Significance
- 2015
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Bok (refereegranskat)abstract
- In eighteenth-century Germany the universal harmony of God's creation and the perfection of its proportions still held philosophical, moral and devotional significance. Reproducing proportions close to the unity (1:1) across compositions could render them beautiful, perfect and even eternal. Using the principles of her ground-breaking theory of proportional parallellism, Ruth Tatlow explains how Bach used the number of bars, sections, movements and works to create numerical perfection across his published collections, and explains why he did so. The first part of the book - Foundations - illustrates the wide-ranging application of belief in the unity, showing how planning a well-proportioned structure was a normal compositional procedure in Bach's time. In the second part - Demonstrations - Tatlow presents examples of this in Bach's work illustrating the layers of proportion that appear within a movement, within a work, between two works in a collection, across a collection and between collections.
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- Tatlow, Ruth, 1956-
(författare)
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Bach's Numbers : Compositional Proportion and Significance
- 2016
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Bok (refereegranskat)abstract
- In eighteenth-century Germany the universal harmony of God's creation and the perfection of its proportions still held philosophical, moral and devotional significance. Reproducing proportions close to the unity (1:1) across compositions could render them beautiful, perfect and even eternal. Using the principles of her ground-breaking theory of proportional parallellism, Ruth Tatlow explains how Bach used the number of bars, sections, movements and works to create numerical perfection across his published collections, and explains why he did so. The first part of the book - Foundations - illustrates the wide-ranging application of belief in the unity, showing how planning a well-proportioned structure was a normal compositional procedure in Bach's time. In the second part - Demonstrations - Tatlow presents examples of this in Bach's work illustrating the layers of proportion that appear within a movement, within a work, between two works in a collection, across a collection and between collections.
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- Tatlow, Ruth, 1956-
(författare)
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‘Hogyan használja (ki) napjaink zenetudománya a Fibonacci-számokat és az aranymetszést?’ : Translation by Gergely Fazekas of ‘The Use and Abuse of the Golden Section and Fibonacci Series in Musicology today’. Understanding Bach 1 (2006), 69–85
- 2017
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Ingår i: Magyar Zene. Hungarian Music Journal of Musicology. - Budapest. ; 4, s. 412-431
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Tidskriftsartikel (refereegranskat)abstract
- Consecutive terms in the Fibonacci Sequence form a numerical approximation of the Golden Section, the popular term for Euclid’s division in extreme and mean ratio (DEMR). Because Fibonacci dated his manuscript 1202, and because Euclid described DEMR in c.300 BCE, many musicologists have naïvely assumed that composers since 1202 consciously used Fibonacci numbers to express the Golden Section. This is historically misguided. Although Euclid’s DEMR was widely disseminated throughout maths history, Fibonacci's Liber abaci (1202) was not. After a brief transmission in manuscript form, Liber abaci was lost until the mid-18th century, forgotten again until the 19th century and finally published in 1857 and 1862. The few sporadic appearances of a numerical expression for DEMR in the 17th and 18th centuries arose independently of Fibonacci. The attribution of exotic aesthetic properties to the Golden Section is a product of the late 19th century. This paper examines the historical facts and consider the problems and possibilities they present to the Bach scholar.
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- Tatlow, Ruth, 1956-, et al.
(författare)
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La clemenza di Tito: : Chronology and Documents
- 2018
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Ingår i: Mozart's La clemenza di Tito. - Stockholm : Stockholm University Press. - 9789176350553 - 9789176350522 - 9789176350539 - 9789176350546 ; , s. 1-32
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Bokkapitel (refereegranskat)
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