{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85789"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85789","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Aria Forms and Chorus Textures in Bach's Early Cantatas: The Influences of Neumeister, Telemann, and Rosenmueller","abstract":"Two features found in the early cantatas of Johann Sebastian Bach, the non-da-capo aria form (Kirchenarie) and the concertato-style chorus texture, have been previously attributed respectively to Bach himself and the Neapolitan school. However both features are also found in older Italian Latin-texted sacred compositions. This dissertation outlines the chain of adaptations which is likely to have transmitted these features from Italian sacred music to the Lutheran cantata, as defined by Erdmann Neumeister. It demonstrates that Bach adopted these features from Georg Philipp Telemann, and that both features are present in Telemann's earliest cantata cycle, Geistliches Singen and Spielen. Telemann in turn adopted them from his model, Johann Rosenmuller, who had acquired his compositional techniques in Venice. The dissertation also examines Erdmann Neumeister's role. Neumeister's conception of the new Lutheran cantata consisted of recitatives and arias. Closer analysis of Neumeister's published lectures reveals that Neumeister allowed for a greater freedom and flexibility in the formal design of arias. Telemann and Bach were thus not limited to the operatic five-part da-capo when composing their arias.","abstract_html":"Two features found in the early cantatas of Johann Sebastian Bach, the non-da-capo aria form (Kirchenarie) and the concertato-style chorus texture, have been previously attributed respectively to Bach himself and the Neapolitan school. However both features are also found in older Italian Latin-texted sacred compositions. This dissertation outlines the chain of adaptations which is likely to have transmitted these features from Italian sacred music to the Lutheran cantata, as defined by Erdmann Neumeister. It demonstrates that Bach adopted these features from Georg Philipp Telemann, and that both features are present in Telemann's earliest cantata cycle, Geistliches Singen and Spielen. Telemann in turn adopted them from his model, Johann Rosenmuller, who had acquired his compositional techniques in Venice. The dissertation also examines Erdmann Neumeister's role. Neumeister's conception of the new Lutheran cantata consisted of recitatives and arias. Closer analysis of Neumeister's published lectures reveals that Neumeister allowed for a greater freedom and flexibility in the formal design of arias. Telemann and Bach were thus not limited to the operatic five-part da-capo when composing their arias.","abstract_has_math":false,"creators":["Metzler, Patrizia"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Hill, John Walter"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:00Z","date_published":"2015-09-25T22:54:00Z","updated_at":"2026-07-22T22:26:25Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3269978"],"render_values":[{"text":"(MiAaPQ)AAI3269978","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85789","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Hill, John Walter"]},{"key":"dc:creator","label":"Author","values":["Metzler, Patrizia"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:00Z","10000-01-01","2007"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85789","(MiAaPQ)AAI3269978"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Two features found in the early cantatas of Johann Sebastian Bach, the non-da-capo aria form (Kirchenarie) and the concertato-style chorus texture, have been previously attributed respectively to Bach himself and the Neapolitan school. However both features are also found in older Italian Latin-texted sacred compositions. This dissertation outlines the chain of adaptations which is likely to have transmitted these features from Italian sacred music to the Lutheran cantata, as defined by Erdmann Neumeister. It demonstrates that Bach adopted these features from Georg Philipp Telemann, and that both features are present in Telemann's earliest cantata cycle, Geistliches Singen and Spielen. Telemann in turn adopted them from his model, Johann Rosenmuller, who had acquired his compositional techniques in Venice. The dissertation also examines Erdmann Neumeister's role. Neumeister's conception of the new Lutheran cantata consisted of recitatives and arias. Closer analysis of Neumeister's published lectures reveals that Neumeister allowed for a greater freedom and flexibility in the formal design of arias. 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However both features are also found in older Italian Latin-texted sacred compositions. This dissertation outlines the chain of adaptations which is likely to have transmitted these features from Italian sacred music to the Lutheran cantata, as defined by Erdmann Neumeister. It demonstrates that Bach adopted these features from Georg Philipp Telemann, and that both features are present in Telemann's earliest cantata cycle, Geistliches Singen and Spielen. Telemann in turn adopted them from his model, Johann Rosenmuller, who had acquired his compositional techniques in Venice. The dissertation also examines Erdmann Neumeister's role. Neumeister's conception of the new Lutheran cantata consisted of recitatives and arias. Closer analysis of Neumeister's published lectures reveals that Neumeister allowed for a greater freedom and flexibility in the formal design of arias. 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