Few bodies of Western music are as widely respected, studied, and emulated as the fugues of Johann Sebastian Bach. Despite the esteem which Bach's contributions brought to the genre, however, the origin and early history of the fugue remain poorly understood. Theories of Fugue from the Age of Josquin to the Age of Bach addresses both the history and methodology of the pre-Bach fugue (from roughly 1500 to 1700), and, of greatest significance to the literature, it seeks to present a way out of the methodological dilemma of uncertainty which has plagued previous scholarly attempts by considering what musicians of the time had to say about the fugue: what it was, what it was not, how important it was, and where and how a composer should (or shouldn't) use it.
Author(s): Paul Mark Walker
Publisher: University of Rochester Press
Year: 2000
Language: English
Commentary: http://archive.org/details/theoriesoffuguef0000walk
Pages: 485
City: Rochester
Contents
List of Tables
Acknowledgments
Introduction
Part I: Fugal Theory of the Renaissance and Early Baroque
Chapter 1. Fugue in the High Renaissance
Chapter 2. Fugue at the End of the Renaissance, Part I: Italy and the Netherlands
Chapter 3. Fugue at the End of the Renaissance, Part II: Germany
Chapter 4. German Theory during the Thirty Years War: Fugue in Latin School Music Texts
Part II: The Genesis of the Modern Fugue: Italy and Germany in the Mid-Seventeenth Century
Chapter 5. Italian Influence on German Fugal Theory, 1640–1680
Chapter 6. Instrumental Fugue and the Emergence of Fugal Structure in the Third Quarter of the Seventeenth Century
Chapter 7. Invertible Counterpoint and the Hamburg Circle of Theorists
Part III: German Fugal Theory of the Mature Baroque, 1680–1740
Chapter 8. Fugal Theory, 1680–1710
Chapter 9. Fugal Theory in German Lexicographic Texts
Chapter 10. Fugal Theory, 1710–1740: Mattheson and Fux
Conclusion
Notes
Glossary
Bibliography
Index
