...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...

... 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...

... 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...

... 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...

... 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...

... 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...

... 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...

.... Training in counterpoint continued after studies in harmony, though in Paris it was integrated into the harmony training in addition to existing as a separate subject. The school fugue—or, as Wason ( 1986 : 300) called it, “that Frankenstein monster of nineteenth-century theory pedagogy”—was the common...

... 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...

... 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...

... 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...

... when one considers learned styles such as fugues or canons. It is difficult to imagine how the open- ing choral fugues in many of J. S. Bach’s cantatas could be heard as growing out of improvisation,23 if this term is used in the same sense as when one says...

... conservatory enabled musicians to achieve high and innovative artistic results. What is impressive about these tests was the students' ability to write in a few hours complex dispositions and fugues over bass lines (or, in the case of chants données, below a melody) without the aid of a musical instrument...

.... 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...

... 1:1. The index of each duration in a melody should reflect its actual duration relative to the others. A simple example is drawn from the first fugue in the Well-Tempered Clavier, the subject of which is presented in Example 8. The most complicated rela...

...). In Issledovaniya o Shopene ( Chopin Studies ), 209 – 45 . Moscow : Sovetskiy Kompozitor . Mazel’ Leo A. ( 1962 ) 1982. “ O fuge C-dur Shostakovicha ” (On Shostakovich's C-major Fugue). In Stat'yi po teorii i analizu muzïki ( Articles on Music Theory and Analysis ), 244 – 60 . Moscow : Sovetskiy...

... 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...

..., the first three of which are the most common: type 1, unaccompanied exercises teaching topics including canto fermo, rudiments, and scales and leaps for beginners; type 2, for two or more unaccompanied voices, resembling ricercars or fugues; and type 3, accompanied solfeggio, with figured, unfigured bass...

... from that portion of Gradus ad Parnassum dealing with fugue (Mann 1958, 94). This coun- terpoint obviously models the passage from Merula shown in Example 12, as well as the many similar passages found in the work of later com- posers, including Corelli. It does not—pace Aloysius—model anything...

... 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...