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Bach Against Modernity by Michael Marissen: New
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N.º de artículo de eBay:364210559076
Última actualización el 16 jul 2025 04:18:12 H.EspVer todas las actualizacionesVer todas las actualizaciones
Características del artículo
- Estado
- Book Title
- Bach Against Modernity
- Publication Date
- 2023-04-11
- Pages
- 200
- ISBN
- 0197669492
Acerca de este producto
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0197669492
ISBN-13
9780197669495
eBay Product ID (ePID)
10058367853
Product Key Features
Number of Pages
200 Pages
Publication Name
Bach Against Modernity
Language
English
Publication Year
2023
Subject
History & Criticism, Genres & Styles / Classical, Individual Composer & Musician
Type
Textbook
Subject Area
Music
Format
Hardcover
Dimensions
Item Height
0.8 in
Item Weight
12.3 Oz
Item Length
8.3 in
Item Width
5.8 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2023-933378
Reviews
"There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter--after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!" -- Masaaki Suzuki, music director of Bach Collegium Japan"This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music." -- Bettina Varwig, University of Cambridge, There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter--after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against thecurrent easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!, "There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter'e"after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!" -- Masaaki Suzuki, music director of Bach Collegium Japan"This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music." -- Bettina Varwig, University of Cambridge, "There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter--after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!" -- Masaaki Suzuki, music director of Bach Collegium Japan"This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music." -- Bettina Varwig, University of Cambridge"Marissen,... provide us with an excellent demonstration of the variety of issues with which we must contend and exemplary models of how to negotiate the challenges that we encounter." -- Daniel F. Boomhower, Notes: the Quarterly Journal of the Music Library Association vol. 80, "There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and TwitterDLafter all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against thecurrent easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!" -- Masaaki Suzuki, music directorof Bach Collegium Japan"This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music." -- Bettina Varwig, University of Cambridge"Marissen,... provide us with an excellent demonstration of the variety of issues with which we must contend and exemplary models of how to negotiate the challenges that we encounter." -- Daniel F. Boomhower, Notes: the Quarterly Journal of the Music Library Association vol. 80, "There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter--after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!" -- Masaaki Suzuki, music director of Bach Collegium Japan"This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music." -- Bettina Varwig, University of Cambridge"Marissen,... provide us with an excellent demonstration of the variety of issues with which we must contend and exemplary models of how to negotiate the challenges that we encounter." -- Daniel F. Boomhower, Notes: the Quarterly Journal of the Music Library Association vol. 80"Marissen's exceedingly fine work has much to commend it. To analyze and elucidate the outlook of arguably the greatest composer the world has ever seen,particularly in the face of much scholarship which is sadly antithetical to the perspective of the author, is no small task. The author's undeniable scholarship, however, is so careful and extensive, the reader will be hard-pressed not to reach Marissen's well reasoned conclusions. For those who share the faith of Bach, there will be many gems here to stock head and heart, setting one on an unparalleled journey to explore with even greater devotional heft this truly great and spiritual composer. The book can be heartily recommended without reservation!" -- Stephen Michaud, Ordained Servant, "There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and TwitterDLafter all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!" -- Masaaki Suzuki, music director of Bach Collegium Japan"This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music." -- Bettina Varwig, University of Cambridge, "There is a widespread feeling among music lovers today that 'Bach is a good friend of mine,' and that if he were alive in this era, he would surely be an 'ultra-modern' person who was good at Facebook and Twitter--after all, his music appeals so much to us! I find Michael Marissen's new book discussing Bach, rather, in opposition to modernity to be a wonderful model of historically-informed analytic criticism, not only against 'modernism,' but also against the current easy-going commercialism and triumphalistic secularism that prevent us from truly deepening our understanding and enjoyment of Bach. Wholeheartedly welcome!" -- Masaaki Suzuki, music director of Bach Collegium Japan "This is a thought-provoking, incisive, and hugely enlightening collection of essays from one of the most respected and original thinkers in Bach studies today. Marissen's razor-sharp wit and crystal-clear prose cut through some of the enduring myths of modern Bach reception to reveal different, unexpected, and sometimes uncomfortable facets of the man and his music." -- Bettina Varwig, University of Cambridge
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
780.92
Table Of Content
Preface Credits Part I - Constraints of History on Interpretation 1. Bach Against Modernity 2. Bach's Handwritten Entries in his Bible Part II - Brief Commentaries 3. Fractal Gavottes and the Ephemeral World in Bach's Cantata 64 4. Time and Eternities in Bach's Cantata 23 5. Bach's Christmas Oratorio and a Blessed End 6. Bach and Art and Mammon Part III - Texts 7. Historically Informed Renderings of the Librettos from Bach's Cantatas (co-author, Daniel R. Melamed) Part IV - Jews and Judaism 8. On the Jews and their So-Called Lies in the Fourth Gospel and Bach's St. John Passion 9. Bach and Sons in the Jewish Salon Culture of 19th-Century Berlin Part V - Theological Character of Secular Instrumental Music 10. Bach's Sacred Brandenburg Concertos 11. The Serious Nature of the Quodlibet in Bach's Goldberg Variations Works Cited Index of Bach's Works Index of Names and Subjects
Synopsis
Many scholars and music lovers hold that J.S. Bach is a modern figure, as his music seems to speak directly to the aesthetic, spiritual, or emotional concerns of today's listeners. But, by eighteenth-century standards, Bach and his music in fact reflected and forcefully promoted a premodern world and life view. In Bach against Modernity , author Michael Marissen offers a new look at Bach that considers problems of inattentiveness to historical considerations in academic and popular writing about Bach's relation to the present. He also puts forward interpretive reassessments of key individual works by Bach and examines problems in modern comprehension of the partly archaic German texts that Bach set to music. Lastly, he explores Bach's music in relation to premodern versus enlightened attitudes toward Jews and Judaism and enquires into the theological character of Bach's secular instrumental music. Throughout, the book provides overlooked or misunderstood evidence of Bach's private engagement with religious and social issues that he also addressed in his public vocal compositions. Marissen ultimately argues that, while we are free to make use of Bach and his music in whatever ways we find fitting, we ought also to guard against miscasting Bach in our own ideological image and proclaiming the authenticity of that image, and hence its prestige value, in support of our own agendas., In Bach against Modernity, author Michael Marissen contests the common perception that J.S. Bach is a modern figure and instead suggests that, by eighteenth-century standards, Bach and his music in fact reflected and forcefully promoted a premodern world and life view. He provides overlooked or misunderstood evidence of Bach's private engagement with religious and social issues that the composer also addressed in his public vocal compositions, and exposes intellectual and ethical problems with prevalent anachronistic views of Bach., Many scholars and music lovers hold that J.S. Bach is a modern figure, as his music seems to speak directly to the aesthetic, spiritual, or emotional concerns of today's listeners. But, by eighteenth-century standards, Bach and his music in fact reflected and forcefully promoted a premodern world and life view. In Bach against Modernity, author Michael Marissen offers a new look at Bach that considers problems of inattentiveness to historical considerations in academic and popular writing about Bach's relation to the present. He also puts forward interpretive reassessments of key individual works by Bach and examines problems in modern comprehension of the partly archaic German texts that Bach set to music. Lastly, he explores Bach's music in relation to premodern versus enlightened attitudes toward Jews and Judaism and enquires into the theological character of Bach's secular instrumental music. Throughout, the book provides overlooked or misunderstood evidence of Bach's private engagement with religious and social issues that he also addressed in his public vocal compositions. Marissen ultimately argues that, while we are free to make use of Bach and his music in whatever ways we find fitting, we ought also to guard against miscasting Bach in our own ideological image and proclaiming the authenticity of that image, and hence its prestige value, in support of our own agendas., Many scholars and music lovers hold that J.S. Bach is a modern figure, as his music seems to speak directly to the aesthetic, spiritual, or emotional concerns of today's listeners. But, by eighteenth-century standards, Bach and his music in fact reflected and forcefully promoted a premodern world and life view. In Bach against Modernity, author Michael Marissen offers a new look at Bach that considers problems of inattentiveness to historical considerations in academic and popular writing about Bach's relation to the present. He also puts forward interpretive reassessments of key individual works by Bach and examines problems in modern comprehension of the partly archaic German texts that Bach set to music. Lastly, he explores Bach's music in relation to premodern versus enlightened attitudes toward Jews and Judaism and enquires into the theological character of Bach's secular instrumental music.Throughout, the book provides overlooked or misunderstood evidence of Bach's private engagement with religious and social issues that he also addressed in his public vocal compositions. Marissen ultimately argues that, while we are free to make use of Bach and his music in whatever ways we find fitting, we ought also to guard against miscasting Bach in our own ideological image and proclaiming the authenticity of that image, and hence its prestige value, in support of our own agendas.
LC Classification Number
ML410.B13
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- n***c (95)- Votos emitidos por el comprador.Últimos 6 mesesCompra verificadaseller was communicative about my shipment, media mail took a while and tracking wasn't updated frequently, but seller communicated to me very quickly on status. the item came new and wrapped as described, though the packaging in it was packed wasn't sturdy and falling apart when it got to me.
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AlibrisBooks
98,6% de votos positivos•1,9 millones artículos vendidos
Registrado como vendedor profesional
Votos de vendedor (514.396)
- m***m (2304)- Votos emitidos por el comprador.Últimos 6 mesesCompra verificadaI’m thrilled with my recent purchase . The website was user-friendly, and the product descriptions were accurate. Customer service was prompt and helpful, answering all my questions. My order arrived quickly, well-packaged, and the product exceeded my expectations in quality. I’m impressed with the attention to detail and the overall experience. I’ll definitely shop here again and highly recommend from this seller to others. Thank you for a fantastic experience!
- a***n (45)- Votos emitidos por el comprador.Últimos 6 mesesCompra verificadaMistakenly ordered a paperback that I thought was a hardcover, not sellers fault; it was described properly on the listing. Seller still processed a refund the day I went to return the item and let me keep the item anyway. A+++ service. Book arrived quickly in great condition and for a great price. Thank you so much! Amazing seller!
- n***c (95)- Votos emitidos por el comprador.Últimos 6 mesesCompra verificadaseller was communicative about my shipment, media mail took a while and tracking wasn't updated frequently, but seller communicated to me very quickly on status. the item came new and wrapped as described, though the packaging in it was packed wasn't sturdy and falling apart when it got to me.