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Abstract
The thesis of this document comprises two parts. The first demonstrates that recomposing Bach’s Chaconne has formed an interpretive tradition among performer-composers over the past one hundred eighty years. The second is dependent upon the first, and explicates how this tradition may be methodically used by performer-composers interpreting Bach’s Chaconne upon the unaccompanied modern violin. A comprehensive realization of this thesis has been arranged by the author in a complete, annotated score following the document's conclusions.
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