BachNetwork UK Dialogue Meeting 10-15 July 2017 Madingley Hall Cambrige

Хåϡͥåȥѹòġ2017ǯ71015֥åؤΥޥǥ󥰥쥤ۡ

嵭ΥХåϸˤơϡǥ뼰ХåʿΧʽǡꤷ12ܤˡȯɽޤ뼰ϡequal method 餫ʥХåϤ soft bachȯɽsoft bach ϡ׹ͤ𡢥ե쥭֥롢공ǰªʤȤ̣ǤȾҲ𤷤ޤ

ȯɽ԰

1. Barbara M. Reul,쥸㥤ءʥʥ
Fasch, funeral music and Anhalt-Zerbst


2.Szymon Paczkowski,륷ءʥݡɡ
Musical patronage of Saxon prime ministers in Bachs time


3.Stephen Rose, ɥءʥꥹ
Musical authorship from Schutz to Bach


4. Peter Smaill,ǥХءʱѹ
Lampes Kirchenmusik, Lutheran chapel of the Savoy, 1746


5.Joyce Irwin, Υƥåɽʥꥫ
The joy theme in Bach


6.Daniel Martyn Lewis,륦륺ءʥꥹ
Rethinking The Well-Tempered Clavierǡˡ


7. Ruth Tatlow,ȥޥ󲻳ڱʥꥫ
Transmission of proportional parallelism 1735–1850


8. Ellen Exner,˥塼󥰥ɲڱʥꥫ
Burney's complaint and Mendelssohns Great Passion: Bach in Berlin before 1829


9.Alan Shepherd,ԥ塼ѡʥɥġ
Computer analysis showing ambiguity of number alphabets


10.Bettina Varwig,֥åءʥꥹ
An early modern musical physiology


11.Graham Lieschke,ܥءʥȥꥢˡ
Bach cantata reception in Melbourne


12.Kinuyo Hashimoto,뼰ڸܡˡ
Equal method of The Well-Tempered Clavier


13.Dan Tidhar, ֥åءʥꥹ
Stylometry, attribution and chronology


14.Hisako Kawana,񥪥륬˥ȡܡ
Trial of Exploring Bachs Theology through the Orgelchorale


15.Maria Borghesi,ޥꥢڱʥɥġ
Twentieth century Bach reception in Italy


16.Andrew Frampton,ܥءʥȥꥢ
The manuscript sources of J. F. Agricola.


17.Chiara Bertoglio, 󥵡ȥԥ˥ȡʥꥢ
Interpreting musical holy texts: Bach and biblical reception.'


㤤Ԥȯɽ

1.TOM WILKINSON񥪥륬˥ȡʥꥹ
To what extent is J. S. Bach a compositional theorist?


2.Kayo Murataرβ
Redefining the permutation fugues of J. S. Bach


3.OWEN BELCHERȥޥ󲻳ڱ
Analytical studies of selected cantatas by J. S. Bach


4.Tomas Cressy åե
Bach and samurai aesthetic framwork