18세기 후반기(1750-1800)의 바흐상

• 영문명: A figure of Bach in the second half of the eighteenth century
• 발행기관: 한국서양음악학회
• 저자명: 나주리
• 간행물 정보: 『서양음악학』제10권 제2호, 11~32쪽, 전체 22쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2007.05.30

영문 초록

In the second half of the eighteenth century the comprehension and reception of Bach's music had been in various ways. It is generally accepted that Bach's music and composition methods are to be preserved and reconstructed as they were because those can make new music style of the period strong and solid. This traditional and conservative aspect coexisted with a progressive figure of Bach, which considered Bach as a new music figure whose music could be reinterpreted and recreated to meet the expectation of the new era, and reevaluated Bach's works as music for genuine artists, who pursue the essence of music. A innovative image of Bach that appraised Bach music as a living and absolute entity in perspectives of changed musical styles, new aesthetics in expression, and the sublime aesthetics came to the fore in the 1780s by Johann Friedrich Reichardt and Christian Friedrich Schubart, and became the basis for the reception of Bach in the nineteenth century.

목차

1. 들어가는 말

2. 보수적 바흐상과 진보적 바흐상

3. “독일인들의 오르페우스”: 바흐상 변화의 징후

4. 나가는 말

참고문헌

키워드

바흐 수용관 푸가 푸가의 기법 진보적 바흐상 전통주의적 바흐상 평균율 클라비어곡집 라이햐르트 슈바르트 로흐리츠 바흐와 모차르트 바흐 문서집 Bach-Reception fugue The Art of Fugue progressive figure of Bach traditional figure of Bach The Well-Tempered Clavier Johann Friedrich Reichardt Christian Friedrich Schubart Johann Friedrich Rochlitz Bach and Mozart Bach-Dokumente