| Contents |
Part one: The study of fugue in historical outline. Texture versus form -- The Renaissance: fugal exposition. The beginnings of fugal theory ; Elements of fugal technique: vicentino ; Establishment of fugal terminology: zarlino ; The last Renaissance theorists -- The Baroque: fugal development. Growth of formal concepts ; Progress of harmonic thought: the Sweelinck school ; Re-evaluation of fugal terminology ; Reconciliation of linear and vertical concepts: Rameau -- The classic summaries -- Textbook versus history -- Part two: The study of fugue in classic texts. Johann Josef Fux: from Gradus ad Parnassum, Fux as disciple of Palestrina ; A lesson on imitation ; Fugues in general ; Fugues in two parts ; Fugues in three parts ; Fugues in four parts ; Double counterpoint ; Double counterpoint at the tenth ; Double counterpoint at the twelfth -- Friedrich Wilhelm Marpurg: From Abhandlung von der Fugue, Marpurg as interpreter of Bach ; Imitation and fugue in general ; The theme or opening statement ; The answer ; The exposition and the development of a fugal theme ; The counterparts ; The episodes -- Johann Georg Albrechtsberger: From Gründliche anweisung zur Komposition, Albrechtsberger as teacher of Beethoven ; The chorale fugue ; The canon -- Giambattista Martini: From esemplare o sia saggio fondamentale prattico di contrappunto fugato, Martini as mentor of a new age ; Two-part fugue ; Three part fugue ; Four-part fugue ; Five-part fugue ; Six-part fugue ; Seven-part fugue ; Eight-part fugue. |
| Abstract |
This book is guided by a historical approach to the concepts and principles of fugue. Part One traces the study of fugue from its beginnings, and Part Two dwells on that phase of its history which produced its classical presentations. Includes introductions and critical commentary to major fugue treatises and with musical examples from: Steps to Parnassus by Johann Josef Fux (1725); A Treatise on Fugue by Wilhelm Friedrich Marpurg (1753-1754); A Fundamental and Practical Essay on Fugal Counterpoint by Giambattista Martini (1775); and A Manual of the Fundamental Principles of Composition by Johann Georg Albrechtsberger (1790). Contains over 250 musical examples, ranging in length from one line to several pages. |
| Bibliography note | Includes bibliographical references (pages 327-332) and index. |
| LCCN | 57008636 |
