Alto solo cantatas of Johann Sebastian Bach, and their appropriate application to contralto or mezzo-soprano voice types.
| dc.contributor.advisor | Daniel, Sean, | en_US |
| dc.contributor.author | Bubar, Cheryl Ann. | en_US |
| dc.date.accessioned | 2013-08-16T12:18:54Z | |
| dc.date.available | 2013-08-16T12:18:54Z | |
| dc.date.issued | 2003 | en_US |
| dc.description.abstract | The study deals primarily with historical and pedagogical information for each of the alto solo cantatas which will ensure singers and teachers of singers access to information necessary when deciding whether to explore these works as repertoire or as teaching tools. An appendix at the conclusion of the study also provides abbreviated information on all additional solo arias found in Bach's cantata repertoire with recommendations as to their appropriateness for either the contralto or mezzo-soprano singer, as well as their level of difficulty. | en_US |
| dc.description.abstract | The music of Johann Sebastian Bach has long been recognized as an excellent tool in the training of musicians. His cantatas represent some of his most masterful compositions, and many of the choral cantatas are frequently performed. Although many of the solo arias contained in the cantatas and oratorios are considered desirable repertoire for singers, the complete solo cantatas as repertoire are frequently overlooked. While it is true that the solo cantatas are not generally considered appropriate for beginners, much may be gleaned from the use of these works as teaching tools and as performance repertoire for the intermediate or advanced student. Yet the study of these works from a pedagogical perspective has been neglected, either because of unfamiliarity or their perceived difficulty. | en_US |
| dc.description.abstract | The study of the alto solo cantatas is of particular importance, since today the word "alto" is often applied without distinction to both the contralto and mezzo-soprano classifications. Therefore, not only must the distinct problems for the singer inherent in the works of Bach be considered, but one must also address the question of whether the alto work is appropriate for the particular singer with regard to classification. It is for this reason that I have undertaken this study of the alto solo cantatas of Johann Sebastian Bach. | en_US |
| dc.format.extent | viii, 133 leaves : | en_US |
| dc.identifier.uri | http://hdl.handle.net/11244/577 | |
| dc.note | Adviser: Sean Daniel. | en_US |
| dc.note | Source: Dissertation Abstracts International, Volume: 64-03, Section: A, page: 0710. | en_US |
| dc.subject | Music. | en_US |
| dc.subject | Arias History and criticism. | en_US |
| dc.subject | Cantatas History and criticism. | en_US |
| dc.subject | Bach, Johann Sebastian, 1685-1750. Cantatas. | en_US |
| dc.thesis.degree | D.M.A. | en_US |
| dc.thesis.degreeDiscipline | School of Music | en_US |
| dc.title | Alto solo cantatas of Johann Sebastian Bach, and their appropriate application to contralto or mezzo-soprano voice types. | en_US |
| dc.type | Thesis | en_US |
| ou.group | Weitzenhoffer Family College of Fine Arts::School of Music | |
| ou.identifier | (UMI)AAI3082934 | en_US |
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