Of Beasts, Lovers, and Meringue Puddings: Living with Bach at the Organ

TY - CHAP

T1 - Of Beasts, Lovers, and Meringue Puddings

T2 - Living with Bach at the Organ

AU - Leech-Wilkinson, Daniel

AU - Dogantan-Dack, Mine

PY - 2025

Y1 - 2025

N2 - In this chapter, the authors discuss their embodied-affective experiences of engaging with the score of J.S. Bach’s chorale prelude BWV678 from his Clavier-Übung III, “Dies sind die heil’gen zehn Gebot” (1739). Their conversation stands as a testament to the contingency, fluidity, variety, complexity and breadth of (musical) meanings that pieces of music always carry, and to the consequent openness and flexibility of their expressive boundaries in performance. Among the themes explored are the different expressive and embodied affordances of the organ and the piano, the metaphors and images making music with this piece evokes, and the nature of the expressive shapes that emerge in the process.

AB - In this chapter, the authors discuss their embodied-affective experiences of engaging with the score of J.S. Bach’s chorale prelude BWV678 from his Clavier-Übung III, “Dies sind die heil’gen zehn Gebot” (1739). Their conversation stands as a testament to the contingency, fluidity, variety, complexity and breadth of (musical) meanings that pieces of music always carry, and to the consequent openness and flexibility of their expressive boundaries in performance. Among the themes explored are the different expressive and embodied affordances of the organ and the piano, the metaphors and images making music with this piece evokes, and the nature of the expressive shapes that emerge in the process.

M3 - Chapter

VL - 2

BT - Music Performers’ Lived Experiences

A2 - Dogantan-Dack, Mine

PB - Routledge

CY - Abingdon

ER -