Self parody among the cantatas of Johann Sebastian Bach

Thesis (Ph.D.)--Boston University.Many of Bach's greatest masterpieces contain movements based on music from earlier compositions. These parodies of previously composed works seemed to require as much, if not more, ingenuity than that required for the composition of fresh musical material. A thorough study, then, of Bach's technique of parody should provide new insight into his music and his methods of composition. All changes have been listed and classified in an appendix so that references, other than those cited in the text, can easily be made to the published work. References are made, whenever possible, to the edition of the composer's collected works by the Bach Gesellschaft. [TRUNCATED

Operatic Pasticcios in 18th-Century Europe

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles

Operatic Pasticcios in 18th-Century Europe: Contexts, Materials and Aesthetics

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles

Operatic Pasticcios in 18th-Century Europe

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles