Bach and Newton: Artistic Parallels (About the Creative Content of the Urtext of the Inventions and Sinfonias)
Main Article Content
Abstract
The article elaborates on how J. S. Bach, parallel to Newton, “researched” the laws of nature and the Universe. In
his sound process he modeled space, time and motion and manifested in artistic form discoveries in many ways
analogous to the scientific inventions of his contemporary. Bach, similarly to Newton, showed himself as a “scholarpioneer,”
who constructed in the logic of his constructions an artistic picture of the world, nature and the Universe.
He rendered in the music of the “Inventions and Sinfonias” images of mechanical motion, which were studied at that
same time in physics: ascending and descending, “running,” spherical, laminar, obtrusive, incremental, sinusoidal,
etc. He even imprinted the wave-like nature of oscillating motions in the acoustical image of the work of a pendulum
(the Two-Part Invention in F major, the Three-Part Invention in B minor).
The Inventions are distinguished by their special attribute of penetration into the laws of the physical qualities
of matter: here the numerous models of folding and unfolding of the musical text demonstrate forms of alteration
of time and space, which are bearers of information about the outer world. It is not perchance that the pieces in the
second half of the cycle, namely, the 15 Three-Part Inventions, are called Sinfonias. The subtitle indicates at the
quite concrete characteristic features of the score, which presents a musical equivalent of a volumetric tridimensional
space. They may be realized in a musical score for ensemble on the basis of numerous modifications of vertical and
horizontal oppositions of the acoustic images of solo and continuo. The same characteristic features are contained in
the essentially stereophonic voluminous musical text of the Inventions and Sinfonias, convolved into a two-staff shortscore,
which may be explicated by the performer into various versions of a derived ensemble score.
Keywords: J. S. Bach and Newton, Inventions and Sinfonias, baroque music making, baroque ensemble practice,
creative music making.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Kuznetsova N. M. Tvorcheskoye vzaimodeystviye ispolitelya s muzykal’nym tekstom (na primere instruktivnykh sochineniy I. S. Bakha dlya klavira): avtoref. dis. … kand. iskusstvovedeniya [The Creative Interaction of the Performer with the Musical Text (on the Example of the Instructional Works of Johann Sebastian Bach for Clavier): Thesis of Dissertation for the Degree of Candidate of Arts]. Ufa, 2005. 24 p.
3. Shaymukhametova L. N., Yusufbayeva G. R. Instruktivnye sochineniya I. S. Bakha dlya klavira v praktike tvorcheskogo muzitsirovanya [The Instructive Pieces for Clavier by J.S. Bach in the Practice of Artistic Musicianship]. Ufa: Laboratory for Musical Semantics, 1998. 56 p.
4. Shaymukhametova L. N. O nekotorykh sposobakh organizatsii napryazheniya v muzykal’nom tekste (na primere sochineniy I. S. Bakha) [Concerning Several Means of Organizing Tension in the Musical Text (on the Example of Compositions by J. S. Bach)]. Zvuk, intonatsiya, protsess: sb. st. [Sound, Intonation, Process]. Compilation of Articles. Russian Gnessins’ Academy of Music. Moscow, 1998, pp. 36–45.
5. Eynshteyn A. Fizika i real’nost [Einstein A. Physics and Reality]. Moscow: Nauka, 1965.