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English
Oxford University Press Inc
21 January 2021
"Examining the roots of the classical fugue and the early history of non-canonic fugal writing, Paul Walker's Fugue in the Sixteenth Century explores the three principal fugal genres of the period: motet, ricercar, and canonza. The volume treats each genre in turn, tracing the fugue's development throughout the century and highlighting important moments and trends along the way. Taking a two-tiered approach, Walker, on one level, examines fugue from the perspective of contemporary musicians, and on another level, takes into account fugue's later history and the elements that came to play a significant role in its formation.

Walker is the first scholar to successfully tie together the various strands of the ""pre-Bach fugue"" thanks to the growing availability of editions of the repertories involved. He also takes account of recent work elucidating the change in compositional approach around 1500 from a basis in cantus firmus and canon to one favoring non-canonical, fugal imitation. Featuring well-chosen musical examples to illustrate the compositional developments of the sixteenth century, Fugue in the Sixteenth Century is a definitive study for both specialist musicologists and organists and harpsichordists alike."

By:  
Imprint:   Oxford University Press Inc
Country of Publication:   United States
Dimensions:   Height: 157mm,  Width: 236mm,  Spine: 28mm
Weight:   1g
ISBN:   9780190056193
ISBN 10:   0190056193
Pages:   384
Publication Date:  
Audience:   Professional and scholarly ,  Undergraduate
Format:   Hardback
Publisher's Status:   Active
Acknowledgments Introduction Chapter 1: Fugue and Mode in the Sixteenth Century Chapter 2: Fugue in the Renaissance Motet Chapter 3: Ricercar and Fantasia in the Sixteenth Century Chapter 4: The Fugal Canzona of the Late Sixteenth Century Conclusion: Fugue's First Century Glossary Bibliography

Paul Walker, Professor of the Practice Emeritus, University of Notre Dame Paul Walker is Professor of the Practice Emeritus, University of Notre Dame. He is the author of Theories of Fugue from the Age of Josquin to the Age of Bach.

Reviews for Fugue in the Sixteenth Century

Fuga as described in this book is not a specific form or genre but rather the free type of imitative counterpoint that became central to serious composition in the later Renaissance. The author, who has previously given us a comprehensive study of the theory of fugue, here traces its origins and initial development clearly and concisely, first in vocal works, then in instrumental ones. He illustrates his discussion with a wealth of examples - which alone are worth the price of the book - expertly explicating details while placing each item in its broader music-historical context. -- David Schulenberg, Professor of Music, Wagner College


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