Abstract
This article focuses on a pattern of harmony and voice leading that appears, elaborated, in several fugue expositions (and generically related passages) by J. S. Bach. I contextualize this pattern in examples of “schematic” Baroque fugal writing and suggest that for Bach it functions as a sort of “proto-theme,” with respect to which certain expositions stand as “variations.” These expositions eschew normative I–V–I progressions of Stufen and thus offer a challenge to William Renwick’s exhaustive methodology for fugue analysis. Bach’s variations may respond motivically and energetically to a sense of retrogression implicit the proto-theme, as I demonstrate with an analysis of the Fugue in A minor from Book II of The Well-Tempered Clavier, BWV 889.
Reference47 articles.
1. Baker, Michael. Forthcoming. “A Dorian Middleground Schema in Bach’s Minor-Key Fugue Expositions.” Conference Proceedings, Ninth European Music Analysis Conference.
2. Bartels, Ulrich, and Frieder Rempp, eds. 2008. “Vorwort.” In J. S. Bach. Werke zweifelhafter Echtheit für Tasteninstrumente, ed. Ulrich Bartels and Frieder Rempp, v–vii. Bärenreiter.
3. Beach, David W. 1988. “The Fundamental Line from Scale Degree 8: Criteria for Evaluation.” Journal of Music Theory 32 (2): 271–94. 2nd ed. https://doi.org/10.2307/843437.
4. Beach, David W. 2005. Aspects of Unity in J. S. Bach’s Partitas and Suites. Eastman Studies in Music. University of Rochester Press.
5. Beach, David W. 2019. Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. Routledge. https://doi.org/10.4324/9780429453793.
Cited by
20 articles.
订阅此论文施引文献
订阅此论文施引文献，注册后可以免费订阅5篇论文的施引文献，订阅后可以查看论文全部施引文献