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Historical and analytical studies on fugues

By Paul Walker

 

[In alphabetical order by Author]

 

M. Beiche: ‘Fuga/Fuge’ (1990), HMT

I. Bent, ed.: Music Analysis in the Nineteenth Century, i: Fugue, Form and Style (Cambridge, 1994)

D.R. Boomgaarden and R.B.Nelson: ‘Johann Baptist Samber's (1654–1717) Manuductio ad Organum: the First Modern Discussion of Fugue in German’,JMR, xi (1991), 93–126

W. Breig: ‘Formprobleme in Bach's frühen Orgelfugen’, BJb 1992, 7–21; Eng. trans. in A Bach Tribute: Essays in Honor of William H. Scheide, ed. P. Brainard and R. Robinson (Kassel and Chapel Hill, NC, 1993), 45–56

G.G. Butler: ‘Der vollkommene Capellmeister as a Stimulus to J.S. Bach's Late Fugal Writing’, New Mattheson Studies, ed. G.J. Buelow and H.J. Marx (Cambridge, 1983), 293–305

G. Butler: ‘Fugue and Rhetoric’, JMT, xxi (1977), 49–109

 

D. Chittum: ‘The Triple Fugue in Berg's Wozzeck’, MR, xxviii (1967), 52–62 G. Croll: ‘Wolfgang Amadeus Mozart's Bach- und Händel-Studien 1782’, HJb 1992, 79–93

 

H.-B. Dietz: Die Chorfuge bei G.F. Händel (Tutzing, 1961)

L. Dreyfus: ‘Matters of Kind: Genre and Subgenre in Bach's Well-Tempered Clavier, Book I’,A Bach Tribute: Essays in Honor of William H. Scheide, ed. P. Brainard and R. Robinson (Kassel and Chapel Hill, NC, 1993), 101–19

 

A. Ghislanzoni: Storia della fuga (Milan, 1952)

L.E. Grossman: Fugal Procedures in the Symphonies of Joseph Haydn (diss., Northwestern U., 1993)

 

J. Haar: ‘Zarlino’s Definition of Fugue and Imitation’, JAMS, xxiv (1971), 226–54

D. Harrison: ‘Rhetoric and Fugue: an Analytical Application’, Music Theory Spectrum, xii (1990), 1–42

M. Heinemann: ‘Liszts Fugen und Rejcha’, Musiktheorie, viii (1993), 241–7

J. Hirshberg: ‘Berlioz and the Fugue’, JMT, xviii (1974), 152–88

I. Horsley: Fugue: History and Practice (New York, 1966)

 

S. Keil: Untersuchungen zur Fugentechnik in Robert Schumanns Instrumentalschaffen (Hamburg, 1973)

D. Kämper: ‘Die Kanzone in der norddeutschen Orgelmusik des 17. Jahrhunderts’,Gattung und Werk in der Musikgeschichte Norddeutschlands und Skandinaviens: Kiel 1980, 62–78

W. Kirkendale: Fuge und Fugato in der Kammermusik des Rokoko und der Klassik (Tutzing, 1966; Eng. trans., enlarged, 1979)

W. Kirkendale: ‘On the Rhetorical Interpretation of the Ricercar and J.S. Bach's Musical Offering’, Studi musicali, xxvi (1997), 331–76

W. Kirkendale: ‘Ciceronians versus Aristotelians on the Ricercar as Exordium, from Bembo to Bach’, JAMS, xxxii (1979), 1–44

R. Kramer: ‘Gradus ad Parnassum: Beethoven, Schubert, and the Romance of Counterpoint’,19CM, xi (1987–8), 107–20

G.A. Krumbholz: Friedrich Wilhelm Marpurg's Abhandlung von der Fuge (1753–4) (diss., U. of Rochester, 1995)

S. Kunze: ‘Anton Reichas Entwurf einer phrasirten Fuge’, AMw, xxv (1968), 289–307

S. Kunze: ‘Gattungen der Fuge in Bach's Wohltemperiertem Klavier’, Bach-Interpretationen, ed. M. Geck (Göttingen, 1969), 74–93

 

J. Ladewig: ‘The Origins of Frescobaldi's Variation Canzonas Reappraised’, Frescobaldi Studies: Madison, WI, 1983, 235–68

 

A. Mann: The Study of Fugue (New Brunswick, NJ, 1958/R, 2/1965/R)

T. Müller: ‘Die Fuge in Händels Instrumentalmusik’, Georg Friedrich Händel: Halle 1985, 125–8

J. Müller-Blattau: Grundzüge einer Geschichte der Fuge (Königsberg, 1923, 3/1963 as Geschichte der Fuge)

 

W. Neumann: J.S. Bach's Chorfuge (Leipzig, 1938, 2/1950)

A. Newcomb: ‘When the stile antico was Young’, IMSCR XIV: Bologna 1987, iii, 175–81

A. Newcomb: ‘The Anonymous Ricercars of the Bourdenay Codex’, ibid., 97–123

V.E. Newes: ‘Chace, Caccia, Fuga: the Convergence of French and Italian Traditions’,MD, xli (1987), 27–57

R. Ormesher: Beethoven’s Instrumental Fugal Style: an Investigation of Tonal and Thematic Characteristics in the Late-Period Fugues (diss., U. of Sheffield, 1989)

 

H.J. Pauly: Die Fuge in den Orgelwerken Dietrich Buxtehudes (Regensburg, 1964)

 

W. Renwick: Analyzing Fugue: a Schenkerian Approach (Stuyvesant, NY, 1995)

F.W. Riedel: ‘Johann Sebastian Bach's Kunst der Fuge und die Fugenbücher der italienischen und österreichischen Organisten des 17. und 18. Jahrhunderts’,Von Isaac bis Bach:… Festschrift Martin Just, ed. F. Heidlberger, W. Osthoff and R. Wiesend (Kassel, 1991), 327–33

F.W. Riedel: ‘Die zyklische Fugen-Komposition von Froberger bis Albrechtsberger’,Die süddeutsch-österreichische Orgelmusik im 17. und 18. Jahrhundert: Innsbruck 1979, 154–67

 

K.-J. Sachs: ‘Das Fugenkorpus des Simon Lohet in Johannes Woltz' Tabulaturbuch von 1617’, ibid., 155–68

H. Serwer: ‘Marpurg versus Kirnberger: Theories of Fugal Composition’, JMT, xiv (1970), 206–36

D.A. Sheldon: ‘The Stretto Principle: Some Thoughts on Fugue as Form’, JM, viii (1990), 553–68

U. Siegele: ‘Zu Bach's Fugenkomposition’, Bach Studien, ix (1986), 19–24

G.B. Stauffer: ‘Fugue Types in Bach's Free Organ Works’, J.S. Bach as Organist (Bloomington, IN, 1986), 133–56

 

D. Teepe: Die Entwicklung der Fantasie für Tasteninstrumente im 16. und 17. Jahrhundert: eine gattungsgeschichtliche Studie (Kassel, 1990)

S. Town: ‘Toward an Understanding of Fugue and Fugato in the Masses of Joseph Haydn’, JMR, vi (1986), 311–51

K. Trapp: Die Fuge in der deutschen Romantik von Schubert bis Reger (Frankfurt, 1958)

 

P. Walker: ‘Rhetoric, the Ricercar, and J.S. Bach's Musical Offering’, Bach Studies, ii, ed. D.R. Melamed (Cambridge, 1995), 175–91

P. Walker: ‘Modality, Tonality, and Theories of Fugal Answer in the Late Renaissance and Baroque’, Church, Stage, and Studio: Music and its Contexts in Seventeenth-Century Germany (Ann Arbor, 1990), 361–88

P. Walker: ‘Zur Geschichte des Kontrasubjekts und zu seinem Gebrauch in den frühesten Klavier- und Orgelfugen Johann Sebastian Bach's’, Das Frühwerk Johann Sebastian Bach's: Rostock 1990, 48–69

P. Walker: Fugue in German Theory from Dressler to Mattheson (diss., SUNY, Buffalo, 1987)

P. Walker: ‘Die Entstehung der Permutationsfuge’, BJb 1989, 21–42; Eng. trans., enlarged, in The Creative Process, Studies in the History of Music, iii (New York, 1992), 51–91

P. Walker: ‘From Renaissance Fuga to Baroque Fugue: the Role of the Sweelinck Theory Manuscripts’, Schütz-Jb 1985–6, 93–104

P. Wollny: ‘Mozart's Fugen und der fugierte Stil in seinem Spätwerk’, MJb 1991, 86–92

Published on Kunst der Fuge with the written permission. All rights reserved.

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