{"id":{"repo_id":"umkc","oai_identifier":"oai:mospace.umsystem.edu:10355/36854"},"canonical_url":"https://search.dev.ndltd.org/etd/umkc/oai:mospace.umsystem.edu:10355/36854","repository":{"repo_id":"umkc","name":"University of Missouri - Kansas City","base_url":"https://mospace.umsystem.edu/oai/request"},"display":{"title":"(Re)constructing Johann Sebastian Bach: reception history and performance practice in New York City during the Great War","abstract":"The perception of Johann Sebastian Bach (1685-1750) in New York City during the time of the Great War can be illuminated through two threads: 1) reception history and reputation, and 2) contemporary performance practices. Between 1914 and 1927, the reputation of Bach migrated away from one having nationalistic and Romantic associations to one embodying both a \"universal\" objectivity and a distinctly American subjectivity. Similarly, the manner in which Bach's music was performed also changed. Before the Great War, transcribing and arranging Bach's music was common. After the war, some New York City critics began to advocate for Bach's music to be played as historical reconstructions. Transcriptions and arrangements continued to be performed alongside historical reconstructions, and both a subjective and historically \"objective\" approaches to performing the composer's music existed. New York City musician William Henry Humiston (1869-1923) and his idea of Bach provides a useful case study of one musician's approach to understanding the composer. Humiston's perception of the Baroque composer and his own transcriptions and arrangements of Bach's music reveal a blend of both personal subjectivity and historical awareness.","abstract_html":"The perception of Johann Sebastian Bach (1685-1750) in New York City during the time of the Great War can be illuminated through two threads: 1) reception history and reputation, and 2) contemporary performance practices. Between 1914 and 1927, the reputation of Bach migrated away from one having nationalistic and Romantic associations to one embodying both a "universal" objectivity and a distinctly American subjectivity. Similarly, the manner in which Bach's music was performed also changed. Before the Great War, transcribing and arranging Bach's music was common. After the war, some New York City critics began to advocate for Bach's music to be played as historical reconstructions. Transcriptions and arrangements continued to be performed alongside historical reconstructions, and both a subjective and historically "objective" approaches to performing the composer's music existed. New York City musician William Henry Humiston (1869-1923) and his idea of Bach provides a useful case study of one musician's approach to understanding the composer. Humiston's perception of the Baroque composer and his own transcriptions and arrangements of Bach's music reveal a blend of both personal subjectivity and historical awareness.","abstract_has_math":false,"creators":["Marks, Thomas Jared"],"institution":"University of Missouri--Kansas City","degree_name":"M.M.","degree_level":"Masters","degree_discipline":"Music (UMKC)","degree_department":null,"school":null,"contributors":[],"advisors":["Everett, William A., 1962-"],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013","date_published":"2013","updated_at":"2026-07-24T05:19:40Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10355/36854","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Everett, William A., 1962-"]},{"key":"dc:creator","label":"Author","values":["Marks, Thomas Jared"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2013-08-12T19:10:07Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2013-08-12T19:10:07Z"]},{"key":"dc:date.issued","label":"Date","values":["2013"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music (UMKC)"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["M.M."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Missouri--Kansas City"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/10355/36854"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Title from PDF of title page, viewed on August 12, 2013","Thesis advisor: William Everett","Vita","Includes bibliographic references (pages 92-97)","Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2013"]},{"key":"dc:description.abstract","label":"Abstract","values":["The perception of Johann Sebastian Bach (1685-1750) in New York City during the time of the Great War can be illuminated through two threads: 1) reception history and reputation, and 2) contemporary performance practices. Between 1914 and 1927, the reputation of Bach migrated away from one having nationalistic and Romantic associations to one embodying both a \"universal\" objectivity and a distinctly American subjectivity. Similarly, the manner in which Bach's music was performed also changed. Before the Great War, transcribing and arranging Bach's music was common. After the war, some New York City critics began to advocate for Bach's music to be played as historical reconstructions. Transcriptions and arrangements continued to be performed alongside historical reconstructions, and both a subjective and historically \"objective\" approaches to performing the composer's music existed. New York City musician William Henry Humiston (1869-1923) and his idea of Bach provides a useful case study of one musician's approach to understanding the composer. Humiston's perception of the Baroque composer and his own transcriptions and arrangements of Bach's music reveal a blend of both personal subjectivity and historical awareness."]},{"key":"dc:title","label":"Title","values":["(Re)constructing Johann Sebastian Bach: reception history and performance practice in New York City during the Great War"]}]}],"canonical_facts":{"dc:contributor.advisor":["Everett, William A., 1962-"],"dc:creator":["Marks, Thomas Jared"],"dc:date.accessioned":["2013-08-12T19:10:07Z"],"dc:date.available":["2013-08-12T19:10:07Z"],"dc:date.issued":["2013"],"dc:description":["Title from PDF of title page, viewed on August 12, 2013","Thesis advisor: William Everett","Vita","Includes bibliographic references (pages 92-97)","Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2013"],"dc:description.abstract":["The perception of Johann Sebastian Bach (1685-1750) in New York City during the time of the Great War can be illuminated through two threads: 1) reception history and reputation, and 2) contemporary performance practices. Between 1914 and 1927, the reputation of Bach migrated away from one having nationalistic and Romantic associations to one embodying both a \"universal\" objectivity and a distinctly American subjectivity. Similarly, the manner in which Bach's music was performed also changed. Before the Great War, transcribing and arranging Bach's music was common. After the war, some New York City critics began to advocate for Bach's music to be played as historical reconstructions. Transcriptions and arrangements continued to be performed alongside historical reconstructions, and both a subjective and historically \"objective\" approaches to performing the composer's music existed. New York City musician William Henry Humiston (1869-1923) and his idea of Bach provides a useful case study of one musician's approach to understanding the composer. Humiston's perception of the Baroque composer and his own transcriptions and arrangements of Bach's music reveal a blend of both personal subjectivity and historical awareness."],"dc:identifier.uri":["http://hdl.handle.net/10355/36854"],"dc:title":["(Re)constructing Johann Sebastian Bach: reception history and performance practice in New York City during the Great War"],"dc:type":["Thesis"],"thesis:degree_discipline":["Music (UMKC)"],"thesis:degree_level":["Masters"],"thesis:degree_name":["M.M."],"thesis:institution_name":["University of Missouri--Kansas City"]},"updated_at":"2026-07-24T05:19:40Z"}