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Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study

Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study though there are many useful insights, there is nothing here that could be considered revelatory within the schenkerian context. One notable omission in the study is its failure to include information about the suite genre itself, or about its place in Bach’s output. Nothing is said about musical features that assign works to the genre. even the fact that movements from Bach’s suites remain in the same key and (with few exceptions) mode is not mentioned until late, and only in passing.2 Nor is much said otherwise about the music’s form, even that all movements, except certain opening ones, have a repeated binary structure; or about the larger rhythmic organization.3 Nor is an attempt made to provide an overview of the repertoire. indeed, despite the title’s suggestion, the suites are not treated so much as a collection of related works as simply a source of examples for Beach’s own interests. Finally, except for two suites analyzed comprehensively in the second of the book’s two parts, there is almost nothing about provenance. A more substantial point concerns the general issue of unity itself when viewed within a schenkerian context—a matter that, after describing the book’s overall conception and organization, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study

Journal of Music Theory , Volume 49 (1) – Jan 1, 2005

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Publisher
Duke University Press
Copyright
Copyright 2005 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2007-005
Publisher site
See Article on Publisher Site

Abstract

though there are many useful insights, there is nothing here that could be considered revelatory within the schenkerian context. One notable omission in the study is its failure to include information about the suite genre itself, or about its place in Bach’s output. Nothing is said about musical features that assign works to the genre. even the fact that movements from Bach’s suites remain in the same key and (with few exceptions) mode is not mentioned until late, and only in passing.2 Nor is much said otherwise about the music’s form, even that all movements, except certain opening ones, have a repeated binary structure; or about the larger rhythmic organization.3 Nor is an attempt made to provide an overview of the repertoire. indeed, despite the title’s suggestion, the suites are not treated so much as a collection of related works as simply a source of examples for Beach’s own interests. Finally, except for two suites analyzed comprehensively in the second of the book’s two parts, there is almost nothing about provenance. A more substantial point concerns the general issue of unity itself when viewed within a schenkerian context—a matter that, after describing the book’s overall conception and organization,

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2005

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