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요한 세바스찬 바흐의 종교성악작품에 나타난 박자기호, 12/8

The Role of the 12/8 Time Signature in J. S. Bach's Sacred Vocal Music

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한국서양음악학회 (The Musicological Society Of Korea)|2008.05|서양음악학 (Journal of the Musicological Society of Korea)|제11권 제2호|pp. 65-92

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참고문헌

키워드

박자기호(Time Signature)지그(Gigue)코랄(Chorale)목가곡(Pastorale)리토르넬로(Ritornello)프리다카포 아리아(Free Dacapo Aria)보논치니(Bononcini)북스테후데(Buxtehude)
주제분류음악학

초록

The study addresses the role of the 12/8 time signature found in J. S. Bach's sacred vocal music. To do so, I traced the musico-historical context in which the time signature was defined and used by late seventeenth- and early eighteenth-century theorists and composers. Through my readings of the treatise and musical examples, I point out that the signature was used in conjunction with the Gigue and Chorale melodies, the musical convention that Bach has inherited. However, as my discussion illustrates, the ways in which Bach uses the 12/8 time signature differ greatly from his predecessors and his contemporaries, thereby suggesting that Bach expanded and recreated stylistic conventions.

Abstract

The study addresses the role of the 12/8 time signature found in J. S. Bach's sacred vocal music. To do so, I traced the musico-historical context in which the time signature was defined and used by late seventeenth- and early eighteenth-century theorists and composers. Through my readings of the treatise and musical examples, I point out that the signature was used in conjunction with the Gigue and Chorale melodies, the musical convention that Bach has inherited. However, as my discussion illustrates, the ways in which Bach uses the 12/8 time signature differ greatly from his predecessors and his contemporaries, thereby suggesting that Bach expanded and recreated stylistic conventions.

참고문헌 (62)

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