« Although the works of J.S. Bach have been considered from many different perspectives, the topic of timbre has been little explored in relation to his compositions. Timbre is a complex and multi-faceted concept that involves both the sounding musical object and the aesthetic experience of the listener. It brings together scientific, aesthetic, and artistic considerations.
This conference seeks to bring together scholars exploring timbral issues in relation to Bach’s compositions from material, philosophical, theoretical, or historical perspectives. Topics could include, for instance, an exploration of Bach’s expertise with selecting and combining organ stops, the innovative scoring of his orchestral works, his transcription practices, instrumental/timbral word painting in the vocal works, architectural spaces or timbral environments in which Bach’s music has been performed, the timbres of diverse instrument choices by performers, the timbral effects in recording Bach’s compositions, or timbral color choices involved in the re-working, performance, and reception of the Bach repertoire in its various manifestations throughout the late eighteenth, nineteenth, twentieth, and twenty-first centuries in diverse locations and contexts around the globe. »
Date limite de soumission : 15 septembre 2022 (envoyer un résumé de 300 mots à eknyt[a]music.umass.edu).