The Soli-Tutti Concept in The Choral Works of Johann Sebastian Bach
Schultz, John Ahern, Jr.
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https://hdl.handle.net/2142/67733
Description
Title
The Soli-Tutti Concept in The Choral Works of Johann Sebastian Bach
Author(s)
Schultz, John Ahern, Jr.
Issue Date
1980
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
D.M.A.
Degree Level
Dissertation
Keyword(s)
Music
Language
eng
Abstract
The idea of contrast between smaller and larger groups was one of the most important ways of dynamic and color variety in the music of Baroque Germany. This procedure has been called the "soli-tutti" principle when related to choral works. The thrust of this thesis is to trace the development of this concept, culminating in its indicated use by Johann Sebastian Bach, and then to speculate where in his non-indicated choral works, by analogy, one should apply this procedure in contemporary performance.
Of the existence of this compositional and performance technique, there can be no doubt. Theorists throughout this period discuss it, from Praetorius to Bach himself. There are numerous examples of its use by composers previous to and contemporary with Sebastian Bach, evidence of which is listed in Appendix A. In addition, there are the works composed or performed by Bach which specify this procedure.
From Johann Sebastian's indicated examples one is able to formulate the characteristics of his use, and then by analogy, suggest other instances in Bach's choral works in which he could have used this concept, discussed in Chapter III, and expanded in Appendix B.
The discussion leads to the conclusion that ignoring the implications of the soli-tutti principle in the performance of Bach's choral works is to lose an important stylistic aspect inherent in his musical composition and performance language.
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