-
Vol. 6 nº 1, juillet 2019
br>
When observing and studying the music of Johann Sebastian Bach, we may find ourselves at an impasse due to the presence of several parallel, but connected, analytical fields. The difficulty of simultaneously processing several of these fields makes it necessary to thoroughly and methodically examine one field before examining another. By analysing multiple facets of the music, we create a bridge of understanding among these apparently heterogeneous fields, which enables us to better comprehend the inner structure of the composition. However, these heterogeneous fields do not always interact with one another in a clear way. Despite the multiple fields of analysis, the composer may choose to focus his or her attention on one or several specific techniques in each piece. In the case of Contrapunctus, these are contrapuntal techniques.
Auteur : Alevizos, Konstantinos G.
Konstantinos Alevizos holds a PhD in musicology (Paris-Sorbonne University) and a qualification MCF by the French national universities’ council. He is also a composer and an organist. He has followed an international course in Greece (Klassiko Odeio), Italy (Scuola di Paleografia and Filologia Musicale), France (Jean-Monnet University and Paris-Sorbonne) and Switzerland (HEM of Geneva), in music and musicology. He is also a member of the Scientific Committee of the Revue Musicorum journal. Former organ professor at the Conservatory of Chambéry Pays de Savoie, in France, he is currently temporary attached in the SATIS department of Aix-Marseille University in composition and analysis as well as member of the Center for the State Diploma in dance, Dance Mouvance, Isle-sur-la-Sorgue. He is co-founder of the association Artemida (www.artemida.fr).