Ornamentation in the music of J. S. Bach: A study of formal design, motivic continuity, and aesthetic value

There has been much written about the use of specific ornaments in the music of J. S. Bach, and a few writers have discussed Bach's use of free ornamentation. There remains, however, a need for a better explanation of the way in which his embellishments function as a significant and integral part of a movement, and of their exceptionally high aesthetic quality. This paper identifies and investigates many of the elements which make Bach's ornamentations exceptional, and which allow his ornamentations to function as an integral part of a movement rather than as mere embellishment.;Material for analysis has been selected from instrumental slow movements. In each ornamentation the rhythmic density, rhythmic complexity, and placement of specific ornaments has been analyzed to identify relationships between these elements and the formal design of the movement. Material from these analyses are presented in the format of a graph. Motivic relationships within an ornamentation, and between the ornamentation and the fundamental material of the movement, have been analyzed and presented using the format of tables and time-lines. Ornamental contributions to the aesthetic value of a movement have been investigated using concepts derived from the works of Beardsley, Meyer, and Donington. The results of the preceding analyses were then reinterpreted in terms of their aesthetic implications.;It was found that a significant number of Bach's ornamentations exhibit some or all of the following attributes: (1) a strong sense of continuity generated by the reuse of ornamental material; (2) a high level of complexity generated by the alteration of, and the unexpected reappearance of, ornamental motives; (3) an enhanced sense of style or affect created by the use of a homogeneous and carefully chosen body of ornamental material and; (4) an enhanced sense of overall unity generated by a use of ornamental rhythmic density and rhythmic complexity which parallels the formal structure of the movement. It has been concluded that many of Bach's ornamentations do not simply embellish a melody, but actually contribute significantly to the substance, effectiveness, and overall aesthetic value of a movement.