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Js Bach's Use of Rhetorical Devices in the Fantasia And Musical Oration: J.S. Bach’s Use of Rhetorical Devices in the Fantasia and Fugue in A minor, BWV 904, and the Chromatic Fantasia and Fugue in D minor, BWV 903 Item Type text; Electronic Dissertation Authors Park, Sangjoon Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 11:40:45 Link to Item http://hdl.handle.net/10150/641373 MUSICAL ORATION: J.S. BACH’S USE OF RHETORICAL DEVICES IN THE FANTASIA AND FUGUE IN A MINOR, BWV 904, AND THE CHROMATIC FANTASIA AND FUGUE IN D MINOR, BWV 903 by Sangjoon Park __________________________ Copyright © Sangjoon Park 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by Sangjoon Park, titled “Musical Oration: J.S. Bach's Use of Rhetorical Devices in the Fantasia and Fugue in A minor, BWV 904, and the Chromatic Fantasia and Fugue in D minor, BWV 903” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. 3 TABLE OF CONTENTS LIST OF TABLES………………………………………………………………………...………4 LIST OF MUSICAL EXAMPLES………………………………………………………...……...5 ABSTRACT…………………………………………………………………………….…………8 CHAPTER I: INTRODUCTION………………………………………………………..………9 CHAPTER II: RHETORIC AND MUSIC………………………………………………...……13 The Study of Rhetoric and Its Influence on Baroque Music……………………….……13 Rhetoric in the Music of J.S. Bach………………………………………………………14 General Principles in Applying Rhetorical Theory to Musical Discourse……………....15 CHAPTER III: FANTASIA AND FUGUE IN A MINOR, BWV 904 ……………………….21 General Features……………………………………………………………...………….21 Rhetorical Devices in the Fantasia………………………………………….……………22 Rhetorical Devices in the Fugue…………………………………………………………29 CHAPTER IV: CHROMATIC FANTASIA AND FUGUE IN D MINOR, BWV 903……...…36 General Features…………………………………………………………………………36 Rhetorical Devices in the Fantasia……………………………………………….………37 Rhetorical Devices in the Fugue…………………………………………………………41 CHAPTER V: CONCLUSION……………………………………………...………………….50 APPENDIX A: J.S. Bach Fantasia and Fugue in A minor, BWV 904….……………………...65 APPENDIX B: J.S. Bach Chromatic Fantasia and Fugue in D minor, BWV 903……..………73 REFERENCES…………………………………………………………………………………..86 4 LIST OF TABLES Table 1. Fantasias of J.S. Bach…………………………….………………...…………………..11 Table 2. Musical-Rhetorical Structure…………………………………………………...…….16 Table 3. List of Affections by Theorists………....………………………………………..…...17 Table 4. Musical-Rhetorical Structure of the Fantasia in A minor, BWV 904………………...23 Table 5. Musical-Rhetorical Structure of the Fugue in A minor, BWV 904……………....….30 Table 6. Musical-Rhetorical Structure of the Chromatic Fantasia in D minor, BWV 903…...37 Table 7. Musical-Rhetorical Structure of the Chromatic Fugue in D minor, BWV 903……...41 Table 8. Musical Dactyl and Anapest……………………………………………………..……..42 5 LIST OF MUSICAL EXAMPLES Musical Example 1. Fantasia in A minor, BWV 904, mm. 1-5……………………….………21 Musical Example 2. Fugue in A minor, BWV 904, mm. 1-3…………...………………….…22 Musical Example 3. Fantasia in A minor, BWV 904, mm. 1-15…………………………...…23 Musical Example 4. Fantasia in A minor, BWV 904, mm. 11-35…………………………….24 Musical Example 5. Fantasia in A minor, BWV 904, mm. 90-99…………………………….26 Musical Example 6. Fantasia in A minor, BWV 904, mm. 1-5……………………….………27 Musical Example 7. Fantasia in A minor, BWV 904, mm. 11-15………...…………………..28 Musical Example 8. Fantasia in A minor, BWV 904, mm. 80-84…………………………….28 Musical Example 9. Fantasia in A minor, BWV 904, mm. 90-94…………………………….29 Musical Example 10. Fugue in A minor, BWV 904 (a: mm.1-3, b: mm.25-27, c: mm. 36-38, d: mm.47-49)…………………………………………………….………….………………….31 Musical Example 11. Fugue in A minor, BWV 904 (a: mm. 1-3, b: mm. 36-38)………....…33 Musical Example 12. Purcell, “Dido’s Lament” from the opera Dido and Aeneas, mm. 10-18………………………………………………………….………………………….34 Musical Example 13. Chromatic Fantasia in D minor, BWV 903, mm. 27-31..……….……38 Musical Example 14. Chromatic Fantasia in D minor, BWV 903, mm. 3-4………....…….40 Musical Example 15. Chromatic Fugue in D minor, BWV 903, mm. 8-13…………..………42 Musical Example 16. Chromatic Fugue in D minor, BWV 903, mm. 1-7.…………..…..……44 Musical Example 17. Chromatic Fantasia in D minor, BWV 903, mm. 87-92……………….45 6 LIST OF MUSICAL EXAMPLES – Continued Musical Example 18. Chromatic Fantasia in D minor, BWV 903, mm. 130-141………….46 Musical Example 19. Chromatic Fugue in D minor, BWV 903 (a: mm. 59-62, b: mm. 90-92, c: mm. 106-109, d: mm. 130-133, e: mm. 154-157)………………………....…….……….47 Musical Example 20. Fantasia in A minor, BWV 904, mm. 1-5………..……………...…..52 Musical Example 21. Fantasia in A minor, BWV 904, mm. 90-94……….…………….……53 Musical Example 22. Fugue in A minor, BWV 904, mm.1-4…………………..………….…53 Musical Example 23. Fugue in A minor, BWV 904, mm. 34-40.……………....…….……….54 Musical Example 24. Chromatic Fantasia in D minor, BWV 903 (a: mm. 1-2, b: mm. 19-20)..56 Musical Example 25. Ravel, Scarbo from Gaspard de la nuit, mm. 1-4.....................................56 Musical Example 26. Chromatic Fantasia in D minor, BWV 903, mm. 27-31……….………57 Musical Example 27. Chromatic Fantasia in D minor, BWV 903, mm. 32-35…………….....57 Musical Example 28. Chromatic Fantasia in D minor, BWV 903, mm. 43-49………….……58 Musical Example 29. Chromatic Fantasia in D minor, BWV 903 with written musical notation suggested (a: mm. 33, b: mm. 43-49)………………………………………………..……….58 Musical Example 30. Chromatic Fantasia in D minor, BWV 903, mm. 50-51…………....….60 Musical Example 31. Chromatic Fantasia in D minor, BWV 903, mm. 76-77………….……60 Musical Example 32. Chromatic Fugue in D minor, BWV 903, mm. 1-7……………….……61 Musical Example 33. Chromatic Fugue in D minor, BWV 903, mm. 53-55…………….……62 Musical Example 34. Chromatic Fugue in D minor, BWV 903, mm. 87-92…………...……..62 Musical Example 35. Chromatic Fugue in D minor, BWV 903, mm. 134-141…………...…..63 7 LIST OF MUSICAL EXAMPLES – Continued Musical Example 36. Chromatic Fugue in D minor, BWV 903, mm. 154-157…………….…63 8 ABSTRACT The study of rhetorical theory can lead to a deeper understanding of Baroque keyboard music. As Renaissance artists and philosophers rediscovered the classical culture of the Greeks, partly shaped by Greek rhetoricians, rhetorical study became a central part of the curriculum in European schools and universities. Many Baroque musicians such as Joachim Burmeister (1564- 1629) and Johann Mattheson (1681-1764) related rhetorical practice to the music of their time. Thus, Baroque composers such as Bach, who were involved in education in schools or churches, considered the art of rhetoric to be linked with music study and may have purposely adopted rhetorical devices, translating them into analogous musical events and processes in their compositions. The Fantasia and Fugue in A minor BWV 904 and the Chromatic Fantasia and Fugue in D minor BWV 903 by J.S. Bach are regarded as important masterpieces in their length and creativity compared with the other fantasias and fugues by many musicologists including David Schulenberg and Robert L. Marshall. The Fantasia and Fugue in A minor features a strictly contrapuntal texture in the Fantasia and two contrasting subjects in the double fugue. The Chromatic Fantasia and Fugue is distinctive in terms of the extensive improvisatory styles of the Chromatic Fantasia and the free treatment of the Chromatic Fugue. An examination of J.S. Bach's Fantasia and Fugue in A minor BWV 904 and Chromatic Fantasia and Fugue in D minor BWV 903 demonstrates the ways in which classical rhetorical principles may have influenced J.S. Bach's writing, and leads the performer to a more thorough understanding of Bach's compositional techniques and more intentional, purposeful interpretative choices in performance. 9 CHAPTER I: INTRODUCTION A fantasia is a type of instrumental composition that has been in use since the Renaissance; its formal and stylistic characteristics ranged from freely improvisatory to strictly contrapuntal. The fantasia remained a common compositional genre through the Baroque period. Its lasting use may be attributed to the compositional freedom it offers, which enabled the composer to display a wide variety of keyboard techniques. Fugue is a term continuously in use since the 14th century signifying both a musical genre and compositional technique involving canonic imitation.1 During the Renaissance the term denoted many types of pieces involving imitative counterpoint including the ricercar, capriccio, and canzona. However, it came to be known as a specific compositional genre with a fully developed contrapuntal structure and remained a central part of keyboard composition in Bach’s time. Stylus fantasticus – fantastic style – describes an important element in many Baroque keyboard genres including toccatas and fantasias. The notable 17th-century German scholar Athanasius Kircher provided this description of the stylus fantasticus: The fantastic style is especially suited to instruments. It is the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject, it was instituted to display genius and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues.2 1 Paul M. Walker, “Fugue.” in Grove Music Online. Oxford Music Online, https://doi- org.ezproxy3.library.arizona.edu/10.1093/gmo/9781561592630.article.51678 (accessed September 17, 2019). 2 Paul Collins, The Stylus Phantasticus and the Free Keyboard Music of the German Baroque (Aldershot, England: Ashgate Publishing Limited, 2005), 29.
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