JS Bach's great eighteen chorale preludes arranged according

113 Pages·2017·3.22 MB·English

University of Iowa
Iowa Research Online
Theses and Dissertations
Fall 2012
J.S. Bach's great eighteen chorale preludes arranged
according to difficulty
Jin Ah Yoo
University of Iowa
Copyright 2012 Jin Ah Yoo
This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/1813
Recommended Citation
Yoo, Jin Ah. "J.S. Bach's great eighteen chorale preludes arranged according to difficulty." DMA (Doctor of Musical Arts) thesis,
University of Iowa, 2012.
https://doi.org/10.17077/etd.vilcb9bt
Follow this and additional works at:https://ir.uiowa.edu/etd
Part of theMusic Commons
J.S. BACH’S GREAT EIGHTEEN CHORALE PRELUDES
ARRANGED ACCORDING TO DIFFICULTY

by

Jin Ah Yoo

An essay submitted in partial fulfillment
of the requirements for the
Doctor of Musical Arts degree
in the Graduate College
of The University of Iowa

December 2012

Essay Supervisor: Assistant Professor Gregory Hand
Copyright by

JIN AH YOO

2012

All Rights Reserved
Graduate College
The University of Iowa
Iowa City, Iowa

CERTIFICATE OF APPROVAL

___________________________

D.M.A. ESSAY

_____________

This is to certify that the D.M.A. essay of

Jin Ah Yoo

has been approved by the Examining Committee
for the essay requirement for the Doctor of
Musical Arts degree at the December 2012 graduation.

Essay Committee: _________________________________________
Gregory Hand, Essay Supervisor

_________________________________________
Delbert Disselhorst

_________________________________________
Brett Wolgast

_________________________________________
Michael Eckert

_________________________________________
Frederick Skiff
To my Parents

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ACKNOWLEDGMENTS

My doctoral education was enabled by the Iowa Performance Fellowship and the
University of Iowa School of Music. Thanks to Dr. Gregory Hand for functioning as the
de facto adviser of this essay, even though the topic is beyond his immediate interests,
and even though the project was born before he joined the faculty at the University of
Iowa. Thanks also to Katharina Malecki of Bärenreiter-Verlag for giving permission to
use musical examples from their published scores.
My first music teacher, Mrs. Ki Yang Kim, has been at my side through every
spiritual, emotional, and artistic step of my life. Dr. Myung Cha Jo at Yonsei University
has guided me through many important steps. Dr. Marilou Kratzenstein at the University
of Northern Iowa encouraged my art, my heart, and my mind during my initial time in the
United States. Dr. Brett Wolgast modeled the scholarly church musician in the finest
tradition of J.S. Bach.
Two people in particular have contributed more than I could have asked. Dr.
Delbert Disselhorst’s reputation as a brilliant scholar and performer is matched only by
his dedication as a teacher and adviser of the highest order. I am grateful to have been
nourished by a teacher who demonstrates that excellent musicianship emanates from
excellent scholarship. His care has been meted out in copious comments, advice, and
suggestions. Finally, Dr. Gayle Henrotte at Handong Global University has modeled love
and grace as she fought a grueling battle to bring clarity and focus to my thoughts. Her
eminence as a musicologist and linguist can hardly give a hint of her magnanimity, her
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warm smile, and her tenacious optimism. Without these two individuals, my work would
never have come to fruition. Any quality in this essay is the trace of their hands.
Personal thanks go to my loving and generous parents, Mr. Woo Geun Yoo and
Mrs. Yoon Hee Koh, who made great sacrifices for my musical education while I was
growing up in Seoul. My husband, Jeremy Knapp, sacrificed his time and energy by
reading countless drafts and making suggestions for improvement. I was fortunate to
marry someone who enjoys Bach as deeply as I do. My son, Peter Knapp, was so patient
during my long absences. His cheer and joy sustained me during an otherwise arduous
period, and his quiet, fascinated posture at the sound of an organ reminded me that this
project was worthy of all the energy I could give. Thanks also to my husband’s parents,
Mr. and Mrs. Daniel Knapp, for their endless patience during long hours spent at the
library near their house. My partners in music and in life at Iowa included Minji Kwon
and Jung Ok Lee, without whom my doctoral studies would have been very lonely. The
esteemed organist Ka Young Lee, though separated by continents and oceans since our
days at Yonsei, has been a partner in prayer, an insightful critic of my work, and a joyful
co-celebrant of all that is J.S. Bach.
These are the people who have made this project, yet have allowed me to call it
my own. Through their love, I have more clearly seen my Help. “Then Samuel took a
stone, and set it . . . and called the name of it Ebenezer, saying, ‘hitherto hath
the Lord helped us.’”
SDG

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TABLE OF CONTENTS

LIST OF TABLES ............................................................................................................ vii

LIST OF FIGURES ......................................................................................................... viii

CHAPTER I INTRODUCTION ................................................................................1

Purpose ....................................................................................................................1
Musical Sources ......................................................................................................3

CHAPTER II REVIEW OF THE LITERATURE CONCERNING
BACH’S PEDAGOGY IN GENERAL ...............................................5

Contemporary Views of Bach as a Teacher ............................................................5
Current Pedagogical Scholarship ............................................................................8

CHAPTER III CRITERIA AND GRADING PROCEDURES ................................16

Criteria ..................................................................................................................16
Grading Procedures ...............................................................................................30

CHAPTER IV ANALYSIS OF J.S. BACH’S GREAT EIGHTEEN
CHORAL PRELUDES ACCORDING TO CRITERIA ...................39

Group One: Easy ...................................................................................................40
Group Two: Intermediate to Advanced ................................................................48
Group Three: Advanced ........................................................................................72

CHAPTER V CONCLUSION ..................................................................................90

APPENDIX A A LIST OF BACH’S GREAT EIGHTEEN
CHORALE PRELUDES ACCORDING TO
MEAN DIFFICULTY GRADE ........................................................92

APPENDIX B LISTS OF EACH ANALTYIC CRITERION IN BACH’S
GREAT EIGHTEEN CHORALE PRELUDES
ACCORDING TO DIFFICULTY .....................................................94

List One: Manual Technique .................................................................................94
List Two: Pedal Technique ....................................................................................95
List Three: Coordination ........................................................................................96
List Four: Tempo ...................................................................................................97
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List Five: Rhythmic Complexity ..........................................................................98

BIBLIOGRAPHY .............................................................................................................99
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LIST OF TABLES

Table 1. BWV 667 ..........................................................................................................40
Table 2. BWV 668a ..........................................................................................................43
Table 3. BWV 665 ..........................................................................................................45
Table 4. BWV 666 ..........................................................................................................48
Table 5. BWV 652 ..........................................................................................................52
Table 6. BWV 659 ..........................................................................................................54
Table 7. BWV 657 ..........................................................................................................57
Table 8. BWV 661 ..........................................................................................................59
Table 9. BWV 658 ..........................................................................................................61
Table 10. BWV 654 ..........................................................................................................63
Table 11. BWV 656 ..........................................................................................................66
Table 12. BWV 653 ..........................................................................................................69
Table 13. BWV 663 ..........................................................................................................72
Table 14. BWV 651 ..........................................................................................................74
Table 15. BWV 662 ..........................................................................................................77
Table 16. BWV 660 ..........................................................................................................80
Table 17. BWV 655 ..........................................................................................................83
Table 18. BWV 664 ..........................................................................................................86
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