Building on Bach: 6 New Suites for Solo Cello
Bibliographic record
Abstract
My project explores the intersection between performance and composition by using historically informed methods to create six new Bach-inspired suites for solo cello.As both a cellist and a composer, I have the privilege to be able to show musicians and audiences that it is possible to resurrect the golden age of the performer-composer.Bach's six suites for solo cello are central to the baroque repertoire and provide the perfect vehicle for applying the techniques that I have developed as a performer-composer.To construct my suites, I draw on Bach's own method of recycling (and reusing) his own music and music by his contemporaries.Bach relied on borrowed music to construct more than a quarter of his compositions, which enabled him to meet the high demand of score production required of his posts as music director at various courts and cities.In my compositions, I use the same method of creative recycling, taking Bach's suites as the basis for structural imitation and applying a variety of eighteenth-century compositional techniques.I draw from the writings of Bach scholars--including John Butt, Malcolm Boyd, Christoph Wolff, and Gesa Kordes--to enhance my understanding of the eighteenth-century tools that Bach used.This thesis will include an annotated score providing examples from Bach's recycled works, a list of material I have borrowed, written score analyses, reflections on my exploration of Bach's method of recycling musical material, and explanations of how I interpreted and employed these methods.These materials will ensure that the project is of practical value to others who wish to follow the model that I am developing.My Bach-inspired cello suites will provide listeners and performers alike with the unique opportunity to hear a treasured historical style through the hands, pen, mind, and ears of a living performer-composer.My work will demystify Bach's music by demonstrating how musicians today can emulate his compositional process by following an accessible series of steps.Through this project, I will expand the solo cello repertoire and show others how to discover the performer-composer within themselves.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.001 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.004 | 0.005 |
| Scholarly communication | 0.006 | 0.003 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.024 | 0.006 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".