Abstract
Different epochs develop different forms of music-making on the basis of transcription of “one’s own” and “somebody else’s” musical text. During the Baroque era transcripts were endowed with a universal meaning, since they reflected the genetic connection between the practices of composition and performance. By observing violin works and their arrangements in doubles, it is possible to follow the violin’s participation in the oral forms of ensemble and solo intonating, since the specific features of organization of solo thematicism carries on it the seal of a single practice of instrumental music-making. A comparative analysis of the dances and the doubles of J.S. Bach’s Partita No.1, unified by their musical material, accentuates attention on universal and specific principles of their notographic fixation, as well as on the processes of the migration and adaptation of intonational lexis. The mobile authorial musical text (the urtext) presents an authentic source. It is open for transformations and adaptations to any instrumental ensembles, genres and types of music-making. In this connection the semantic multilayer qualities of the solo violin musical text, revealing its genetic connection with baroque ensemble music, is seen as a legitimate phenomenon. Keywords: violin urtext of the Baroque period, baroque practice of music-making, thematicism, transcriptions, J. S. Bach, partitas for solo violin.
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