Now created in collaboration with the Bach-Archiv Leipzig is a completely redesigned edition of the BWV, taking account of the 21st century's altered knowledge and usage structures. A revised edition of this internationally recognized reference work was published 40 years later, followed by a so-called "small version" with further updates in 1998. The first catalog of all Bach's works, the Bach-Werke-Verzeichnis (BWV), appeared in 1950 under the authorship of Wolfgang Schmieder. The indispensable reference book on the complete works of Johann Sebastian Bach at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Koeln, Chorwerk Ruhr and Florian Helgath ("Le Disque classique du jour" from and three nominations for Opus Klassik 2021 in the categories "Ensemble", "Choral Recording" and "Editorial Achievement")īach-Werke-Verzeichnis (3rd Edition, 2022). Tried and tested on many occasions, e.g. Detailed Critical Commentary (Eng), partly available on the Baerenreiter website Extensive foreword (Ger/Eng) on the work's history, reception and modern completions, with analytical stylistic critique Alternative performance options for the "Lacrimosa", "Sanctus" and "Benedictus" Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment
Missing sections were completed by drawing from other fragmentary sacred works by Mozart
THE ED MUSIC PUB FULL
With performance material for presentation ofĢ) a version with completions of the authentic Mozart sections orģ) a full completion consistent with Mozart's musical idiom Scholarly-critical edition of the "Requiem" fragment Mass, Requiem (K.626) (Completion Michael Ostrzyga).
THE ED MUSIC PUB CODE
The Appendix provides the professional code of ethics for GIM, the play list for Music for the Imagination, and listings of all music programs developed by Bonny’s followers. Part Six deals with ethics, training, supervision, and international advances in GIM. Four new theories are presented, and the qualitative and quantitative research literatures on GIM are surveyed. Part Five deals with theory and research on GIM. Part Four covers advancements to Bonny’s method, including an approach to client assessment, a new method of group work, new music programs, and various methods of analyzing music programs. Part Three explains how GIM can be practiced within various orientations, including Jungian, psychodynamic, Gestalt, and transpersonal theories. Part Two describes the many applications of GIM with children, adolescents, medical conditions, and psychological problems. Detailed information is also provided about her music programs. Part One provides an overview of Bonny’s method, and provides boundaries for comparing her method with related practices in music therapy and in other forms of psychotherapy employing imagery. This book is available in a 2nd edition here: Ī comprehensive textbook detailing theory, practice, and research on Bonny’s Method of Guided Imagery and Music, and the many variations that have evolved since its inception.
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