* 1648 – Johann Michael Bach, German composer ( d. 1694 )

As a music scholar and organist, he studied the music of German composer Johann Sebastian Bach and influenced the Organ reform movement ( Orgelbewegung ).

* Johann Sebastian Bach, the German composer

J. S. Bach's son Carl Philipp Emanuel Bach was a great proponent of the instrument, and most of his German contemporaries regarded it as a central keyboard instrument, for performing, teaching, composing and practicing.

* 1642 – Johann Christoph Bach, German composer ( d. 1703 )

* 1645 – Johann Ambrosius Bach, German composer, father to Johann Sebastian Bach ( d. 1695 )

* 1645 – Johann Christoph Bach, German musician ( d. 1693 )

* 1724 – Gottfried Heinrich Bach, German son of Johann Sebastian Bach ( d. 1763 )

* 1645 – Johann Aegidius Bach, German violist ( d. 1716 )

These may be the lower lip against the upper teeth, in the case of ; the back of the tongue against the soft palate, in the case of German, the final consonant of Bach ; or the side of the tongue against the molars, in the case of Welsh, appearing twice in the name Llanelli.

Telemann was one of the most prolific composers in history ( at least in terms of surviving oeuvre ) and was considered by his contemporaries to be one of the leading German composers of the time — he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally.

German music, sponsored by the upper classes, came of age under composers Johann Sebastian Bach ( 1685 – 1750 ), Joseph Haydn ( 1732 – 1809 ), and Wolfgang Amadeus Mozart ( 1756 – 1791 ).

Behind the long table set up on the steps of the Rathaus Schöneberg were US and German dignitaries, including Dean Rusk ( Kennedy's Secretary of State ), Lucius D. Clay ( the US administrator of Germany ), Konrad Adenauer ( the German chancellor ), Willy Brandt, and Otto Bach ( President of the German House of Representatives ).

1670 ), however, a distinctly German style came only after 1700 in the works of Silvius Leopold Weiss ( 1686 – 1750 ), one of the greatest lute composers, some of whose works were transcribed for keyboard by none other than Johann Sebastian Bach ( 1685 – 1750 ), who composed a few pieces for the lute himself ( although it is unclear whether they were really intended for the lute, rather than another plucked string instrument or the lautenwerk ).

* 1715 – Johann Gottfried Bernhard Bach, German child of Johann Sebastian Bach and Maria Barbara Bach ( d. 1739 )

* 1714 – Carl Philipp Emanuel Bach, German composer ( d. 1788 )

* 1685 – Johann Sebastian Bach, German composer ( d. 1750 )

However, the term " Baroque " as applied to art ( for example Rubens ) refers to a much earlier historical period than when applied to music ( Händel, Bach ).

Bach himself rarely used the term cantata.

The meaning of the term changed over time, from the simple single voice madrigal of the early 17th century, to the multi-voice " cantata da camera " and the " cantata da chiesa " of the later part of that century, from the more substantial dramatic forms of the 18th century ( including the 200-odd church and secular cantatas of Johann Sebastian Bach ) to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio.

The term " Clavier Ubung " ( nowadays spelled " Klavierübung ") had been assigned by Bach to some of his previous keyboard works.

This style has been described as neoclassical, but is very different from the works by Igor Stravinsky labeled with that term, owing more to the contrapuntal language of Johann Sebastian Bach and Max Reger than the Classical clarity of Mozart.

This is the only sense in which Bach used the term sonatina, although he composed many chamber and solo sonatas for various instruments.

Douglas Hofstadter, in his 1979 book Gödel, Escher, Bach ( and in the sequel, Metamagical Themas ), popularized this meaning of the term.

" Parody " in this serious sense continues to be a term in musicological use, existing alongside the more common use of the term to refer to parody for humorous effect by composers from Bach to Sondheim and performers from Spike Jones to " Weird Al " Yankovic.

The term was coined by Amy Bach, when working in New York for Millis clothing.

and it is not unlikely that, even as the great Bach lay dormant for so many years, so has the erudite, ingenious SalFininistas passed through his `` purgatory '' of neglect.

He was also appointed organist for the Bach Concerts of the Orféo Català at Barcelona and often travelled there for that purpose.

The argument continues that the only justification humanity could give for its continued existence would be the past creation and continued creation of things like a Shakespeare play, a Rembrandt painting or a Bach concerto.

Within philosophy familiar names include Daniel Dennett who writes from a computational systems perspective, John Searle known for his controversial Chinese room, Jerry Fodor who advocates functionalism, and Douglas Hofstadter, famous for writing Gödel, Escher, Bach, which questions the nature of words and thought.

He has used this program to great effect with composers such as Bach and Mozart ( his program Experiments in Musical Intelligence is famous for creating " Mozart's 42nd Symphony "), and also within his own pieces, combining his own creations with that of the computer.

* Tuning for playing J. S. Bach

He is best known for his book Gödel, Escher, Bach: an Eternal Golden Braid, first published in 1979.

Hengeveld was an able interpreter and performer of the music of Bach for piano and harpsichord.

Bach, who went on to occupy the position for the rest of his life.

Perhaps the most celebrated composer who wrote for the harpsichord was J. S. Bach ( 1685 – 1750 ), whose solo works ( for instance, the Well-Tempered Clavier and the Goldberg Variations ), continue to be performed very widely, often on the piano.

In 1754 he co-wrote, with Carl Philipp Emanuel Bach, an obituary for J. S.

In 1935, Australian-born composer Percy Grainger, who also had a deep interest in music made before Bach, arranged Dowland ’ s Now, O now I needs must part for piano.

He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.

While at Harvard, he conducted the Bach Society Orchestra and was a reserve clarinetist for both the Boston Symphony Orchestra and the Opera Company of Boston.

The musical basis for The Death of Klinghoffer was the Passions of Johann Sebastian Bach: grave, symbolic, narratives supported by a full chorus.

Adams once claimed that originality wasn't an urgent concern for him the way it was necessary for the minimalists, and compared his position to that of Gustav Mahler, J. S. Bach, and Johannes Brahms, who " were standing at the end of an era and were embracing all of the evolutions that occurred over the previous thirty to fifty years.