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{"title":"A “Proto-Theme” in Some of J. S. Bach’s Fugal Works","authors":"John S. Reef","doi":"10.30535/MTO.26.4.7","DOIUrl":null,"url":null,"abstract":"This article focuses on a pa ern of harmony and voice leading that appears, elaborated, in several fugue expositions (and generically related passages) by J. S. Bach. I contextualize this pa ern 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. DOI: 10.30535/mto.26.4.7 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/MTO.26.4.7","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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巴赫部分赋格曲中的“原主题”
这篇文章的重点是在巴赫的几个赋格曲(和一般相关的段落)中出现的和声和声部引导。我在巴洛克式的“简图式”赋格写作的例子中，将这一篇章置于背景中，并提出，对于巴赫来说，它的作用是一种“原主题”，就其某些阐述而言，它代表着“变奏”。这些论述避开了斯图芬标准的I-V-I递进，从而对威廉·伦威克详尽的赋格分析方法提出了挑战。巴赫的变奏曲可能会积极而有力地回应隐含在原主题中的一种倒退感，正如我对BWV 889《良律钢琴曲集》第二卷a小调赋格的分析所证明的那样。DOI: 10.30535/mto.26.4.7 vol 26, Number 4, December 2020版权所有©2020 Society for Music Theory
本文章由计算机程序翻译，如有差异，请以英文原文为准。
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