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fugue

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Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
...Mark Anson-Cartwright Among the many qualities that set Bach apart from his contemporaries is his manner of transforming his thematic material—most notably his fugue subjects. Bach himself believed that all good fugue writers should know how and when to change (or mutate) their subjects...
Journal Article
Journal of Music Theory (2013) 57 (1): 119–129.
Published: 01 April 2013
... students, Walter Piston, completed a fugue for her based on the subject from a partimento fugue by the Neapolitan master Fenaroli. Upon returning to the United States with his hard-won Parisian polish, he accepted a professorship at Harvard and went on to write his...
Journal Article
Journal of Music Theory (2007) 51 (1): 161–186.
Published: 01 April 2007
... at the keyboard. The written part of compositional training was cultivated under other forms: strict and fugal counterpoint, and free composi- tion expressed through disposizioni and solfeggi.1 Fugue had a significant role as 1  Disposizioni were exercises set in open score for two or unfigured bass...
Journal Article
Journal of Music Theory (2011) 55 (2): 265–270.
Published: 01 October 2011
... and lecturing like Halm’s own. He meant for his accounts of a “culture of fugue” and a “culture of sonata” to alert listeners and performers to the demands and pos- sibilities recognized and cultivated by Bach and Beethoven in fugue and sonata, respectively. The demands of fugue centered on style...
Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
... it is hailed as an authoritative endorsement of his theory. This quote concerns the fugue from Orpheus: “Here, you see, I cut off the fugue with a pair of scissors.” He clipped the air with his fingers. “I introduced this short harp phrase, like two bars of an accompaniment. Then the horns go...
Journal Article
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
... Symphony (in Volume III). Other sections deal with forms and genres (sonata form, fantasy, fugue), the evolving con- cept of the Urlinie, editorial distortion of musical texts, and the deficien- cies of Rameau’s theories. Each volume concludes with observations entitled “Miscellanea: thoughts on art...
Journal Article
Journal of Music Theory (2007) 51 (1): 137–159.
Published: 01 April 2007
... composition. Avec un traité de fugues. Par M. Biferi fils, maître de chapelle napolitain . Paris: Biferi. Borgir, Tharald. 1987 . The Performance of the Basso Continuo in Italian Baroque Music . Ann Arbor: UMI Research Press. Burney, Charles. 1771 . The Present State of Music in France and Italy...
Journal Article
Journal of Music Theory (2007) 51 (1): 85–135.
Published: 01 April 2007
... fondamentale pratico di contrappunto: Padre Martini teorico e diddatta della musica . Florence: Olschki. Piston, Walter. ca. 1924 -26. Fugue pour quatuor à cordes sur un sujet de Fenaroli . MS Mus 245 no. 11. Cambridge, MA: Houghton Library, Harvard College Library. Polanyi, Michael. 1958 . Personal...
Journal Article
Journal of Music Theory (2014) 58 (1): 57–65.
Published: 01 April 2014
... of the scene is a fugue with three subjects corresponding to each of the char- acters, but as she shows, it is the collapse of the formal structure that Berg emphasizes to depict Wozzeck’s unraveling under the abuse of the doctor and 64 Journal of Music Theory captain...
Journal Article
Journal of Music Theory (2010) 54 (1): 91–105.
Published: 01 April 2010
... The Art of Fugue and Descartes’s Second Meditation. Both works proceed without explicit reference to earlier writings. They are, in a sense, arrangements of sounds/words wholly attributable to their authors...
Journal Article
Journal of Music Theory (2010) 54 (1): 37–60.
Published: 01 April 2010
Journal Article
Journal of Music Theory (2000) 44 (1): 127–169.
Published: 01 April 2000
.... Norton. ———, ed. 1994 . Music Analysis in the Nineteenth Century, Vol. I: Fugue, Form and Style . Cambridge and New York: Cambridge University Press. Bernhard, Christoph. ca. 1655. Tractatus compositionis augmentatus. n.p. Translated in Walter Hilse, “The Treatises of Christoph Bernhard...
Journal Article
Journal of Music Theory (2013) 57 (2): 245–286.
Published: 01 October 2013
Journal Article
Journal of Music Theory (2007) 51 (1): 51–83.
Published: 01 April 2007
... implica- tions, like fugues, have a narrower range of possible realizations. In addition, some elements of dissonance are already present in the basic schemata (e.g., the chromatic descent; see Example 7). Hence, one should not be too rigid with the application of a two- or three-stage realization...
Journal Article
Journal of Music Theory (2003) 47 (2): 225–272.
Published: 01 October 2003
....: Harvard University Press. Malcolm, Alexander. 1721 . A Treatise of Musick: Speculative, Practical, and Historical. Edinburgh: printed for the author. Mann, Alfred. 1958 . The Study of Fugue . New Brunswick, N.J.: Rutgers University Press. Moreno, Jairo. 1996 . “ Theoretical Reception...
Journal Article
Journal of Music Theory (2001) 45 (1): 176–190.
Published: 01 April 2001
... Blasius cannot quite make the needed connections to really establish his case, this is not to say that there isn’t much here to ponder. He correctly reads certain of the unstated rhythmic implications of Schenker’s famous analysis of Bach’s c-minor fugue subject, and helpfully unpacks...
Journal Article
Journal of Music Theory (2017) 61 (1): 29–57.
Published: 01 April 2017
Journal Article
Journal of Music Theory (2001) 45 (1): 170–176.
Published: 01 April 2001
... the performer can employ to produce that sound. It is here, in my opinion, that some of the book’s most valuable insights lie. For example, when speaking of non legato, he advises the pianist to think of the fugue in the third movement of Brahms’s German Requiem: [T]he strings do not play legato, whereas...
Journal Article
Journal of Music Theory (2014) 58 (2): 257–263.
Published: 01 October 2014
... work. Chapter 4 explores the formal treatment and transpositional variety of the subject from Bach’s E-major fugue from the Well-Tempered Clavier, book 2, considering transfor- mations among the tetrachordal scalar segments that underlie the subject statements. Chapter 5 investigates musical...
Journal Article
Journal of Music Theory (2021) 65 (1): 3–9.
Published: 01 April 2021
..., in her 1938 Passacaglia and Fugue in C minor (to Bach's organ work), the American modern dance pioneer Doris Humphrey introduced polymeter at both metrical and hypermetrical levels (Jordan 1996 : 20–21). Let's turn once again to the ethnographers, who have undertaken compelling research linking...