Fugue: Etymology, Meanings and Concept
Fugue: Etymology
The term “fugue” has its origins in the Latin word “fuga,” meaning “flight” or “escape.” This etymology reflects the nature of a fugue in music, where a musical idea is introduced and then successively imitated and developed by voices “escaping” from one another. The term gained prominence in the Baroque era, particularly through the works of composers like Johann Sebastian Bach, who elevated it to a highly sophisticated and structured form within classical music.
Meanings and Concept:
| Meaning | Concept Description |
| Musical Composition | In music, a fugue is a contrapuntal composition characterized by a main theme, or subject, introduced by one voice and imitated by other voices in succession. |
| Polyphony | Fugues showcase polyphony, where multiple independent melodies, each with its own distinct character, interweave to create a harmonically rich composition. |
| Subject and Answer | The fugue typically begins with the exposition, where the main subject is presented, followed by answers in other voices. This interplay forms the core structure of a fugue. |
| Development Section | Fugues include a development section where the subject undergoes various transformations, such as inversion, augmentation, or diminution, demonstrating the composer’s creativity. |
| Stretto | Stretto, a technique in fugues, involves overlapping and hastening the entrance of voices with the subject, intensifying the musical texture and creating a sense of climax. |
| Counterpoint | Fugues exemplify counterpoint, emphasizing the artful combination of melodic lines that maintain their independence while harmonically interacting with each other. |
| Fugal Episodes | Between statements of the subject, fugues feature episodes where new material is introduced, contributing to the overall structure and dynamic flow of the composition. |
| Coda | Fugues often conclude with a coda, providing a definitive ending to the composition and summarizing the musical journey undertaken throughout the piece. |
| Imitative Polyphony | Fugues exemplify imitative polyphony, where voices imitate the main subject, creating a tapestry of interconnected and harmonically intriguing melodies. |
| Art of Composition | The concept of fugue reflects the artistry of composition, challenging composers to weave intricate, interconnected melodies into a cohesive and intellectually engaging whole. |
The fugue, with its roots deeply embedded in musical history, represents a sophisticated form of composition that demands precision, creativity, and a profound understanding of counterpoint. It remains a testament to the ingenuity of composers who have utilized this form to create timeless and intricate musical masterpieces.
Fugue: Definition of a Theoretical Term
A fugue, within music theory, is a contrapuntal composition characterized by its intricate interplay of independent melodic voices. It typically begins with a single melodic line, known as the subject, which is successively imitated and developed by other voices. The fugue’s theoretical essence lies in its systematic exploration of the subject through various transformations, intricate polyphony, and the artful integration of counterpoint, resulting in a harmonically rich and structurally sophisticated musical composition.
Fugue: Theorists, Works and Argument
| Theorist | Works | Argument |
| Johann Sebastian Bach | The Well-Tempered Clavier, Musical Offering | Bach’s fugues are masterful examples, showcasing his prowess in developing intricate and thematic counterpoint. The argument lies in the fugue’s ability to achieve intellectual depth and emotional expression through structured complexity. |
| Wolfgang Amadeus Mozart | String Quartet No. 19 in C Major, K. 465 | Mozart’s fugues, although fewer in number, display a seamless integration of classical elegance with contrapuntal complexity, contributing to the argument that fugues can be a versatile and expressive form within classical compositions. |
| Ludwig van Beethoven | Große Fuge, Op. 133, Hammerklavier Sonata | Beethoven’s departure from classical conventions in his “Große Fuge” challenges traditional fugue structures, illustrating the argument that fugues can serve as platforms for experimentation and pushing compositional boundaries. |
| Dmitri Shostakovich | Fugues from 24 Preludes and Fugues, Op. 87 | Shostakovich’s use of fugue in his Preludes and Fugues incorporates 20th-century dissonance and political undertones, presenting the argument that fugues can be vehicles for expressing societal turbulence and dissent. |
| Johannes Brahms | Variations and Fugue on a Theme by Handel | Brahms, through his fugues, emphasizes thematic development and motivic variation, contributing to the argument that fugues serve as powerful tools for exploring and expanding upon musical motifs. |
These composers, through their respective works, have contributed to the evolving discourse on fugues, showcasing the versatility and expressive potential of this contrapuntal form in the context of different musical eras and styles.
Fugue: Key Characteristics
- Subject: The fugue begins with a distinct melodic idea called the subject, which serves as the primary theme. This subject is presented by one voice and then imitated by others.
- Imitative Counterpoint: Fugues involve voices entering successively with the same subject, creating a polyphonic texture through imitative counterpoint.
- Exposition: The initial section where voices sequentially introduce the subject is called the exposition. Each voice presents the subject and continues with additional material.
- Episodes: Between statements of the subject, episodes provide transitional material, often exploring new themes or modulating to different keys.
- Stretto: A technique where entries of the subject overlap, creating a sense of acceleration and intensifying the musical texture.
- Modulation: Fugues frequently modulate to different keys, contributing to their structural complexity and harmonic richness.
- Development: Fugues feature a development section where the subject undergoes various transformations, such as inversion, augmentation, or diminution.
- Coda: The concluding section of a fugue, the coda provides a definitive ending to the composition, summarizing the musical journey.
- Polyphony: Fugues showcase polyphony, with multiple independent voices maintaining their melodic and rhythmic individuality while harmonically interacting.
- Art of Fugue: Fugues demand a high level of compositional skill, often referred to as the “Art of Fugue,” where composers demonstrate mastery in weaving intricate, interconnected melodies.
- Counter-subject: In addition to the subject, a fugue may include a counter-subject, a secondary theme that accompanies the subject in one or more voices.
- Final Entry: The last statement of the subject towards the conclusion of the fugue often signifies a climactic or conclusive moment.
- Sequences: Fugues may incorporate sequences, repeating melodic patterns at different pitch levels, adding further complexity to the composition.
These characteristics collectively contribute to the unique and intricate nature of a fugue, showcasing its systematic structure, thematic development, and contrapuntal artistry.
Fugue: Relevance in Literary Theories
Fugue: Relevance in Literary Theories
| Literary Theory | Relevance of Fugue |
| Structuralism | In structuralist literary analysis, the fugue concept aligns with the examination of repeated and structured elements, contributing to an understanding of narrative patterns and their interplay. |
| Postmodernism | Fugue’s complexity and interplay of voices parallel postmodern literature’s experimentation with narrative structures and the blending of diverse perspectives, challenging traditional storytelling conventions. |
| Psychoanalytic Theory | Fugue’s development section, with its thematic transformations, resonates with psychoanalytic exploration, where characters and themes undergo psychological transformations and reveal hidden aspects of the narrative. |
| Feminist Theory | The fugue’s polyphonic nature and exploration of counter-subjects align with feminist literary analysis, allowing for the examination of multiple voices and perspectives, including those traditionally marginalized. |
| Deconstruction | Fugue, with its overlapping and shifting voices, resonates with deconstructionist principles by challenging fixed meanings and encouraging readers to question traditional narrative stability. |
| Reader-Response Theory | Fugue’s structure, with multiple voices responding to a central theme, aligns with reader-response theory by inviting readers to actively engage with and interpret the text’s polyphonic elements. |
| Postcolonialism | Fugue’s modulation and exploration of diverse keys can be metaphorically linked to postcolonial literature, where the narrative shifts between different cultural contexts and voices. |
| Cultural Studies | The fugue’s interplay of voices and themes is relevant to cultural studies, allowing for the exploration of conflicting cultural discourses and the negotiation of identity within a complex and interconnected narrative. |
| New Historicism | Fugue’s exploration of different keys and development section align with new historicist approaches by highlighting the simultaneous existence of multiple historical narratives within a literary work. |
| Ecocriticism | Fugue’s thematic development and interconnected voices can be analogous to the exploration of environmental themes in ecocritical literature, where multiple ecological perspectives are considered. |
The concept of the fugue, with its structured complexity and interplay of voices, finds relevance in various literary theories by offering a metaphorical framework for understanding narrative patterns, thematic development, and the dynamic relationships within literary works.
Fugue: Application in Critiques
- One Hundred Years of Solitude by Gabriel Garcia Marquez:
- Application: Marquez’s narrative, akin to a fugue, weaves a complex tapestry of characters and events across generations. The polyphonic structure mirrors the intricate familial and societal relationships, contributing to the novel’s thematic richness.
- Mrs. Dalloway by Virginia Woolf:
- Application: Woolf’s exploration of consciousness and multiple perspectives aligns with fugue-like intricacy. The novel’s stream-of-consciousness technique resembles the overlapping voices in a fugue, creating a complex and nuanced portrayal of characters and their inner worlds.
- Infinite Jest by David Foster Wallace:
- Application: Wallace’s novel, with its non-linear narrative and interconnected plotlines, can be likened to a fugue. The thematic variations and the intertwining of characters and events contribute to the novel’s complexity, demanding an engaged and active reader.
- Cloud Atlas by David Mitchell:
- Application: Mitchell’s novel, structured as a series of nested narratives, resembles the fugue’s exploration of diverse voices and themes. The book’s thematic development and the interplay between different genres and time periods align with fugue-like complexity.
In these critiques, the application of the fugue concept helps illuminate the narrative structures, thematic development, and interconnected elements within each novel, showcasing how the fugue analogy can enhance the understanding and appreciation of their literary qualities.
Fugue: Relevant Terms
| Term | Definition |
| Subject | Primary melodic idea introduced at the beginning of a fugue. |
| Exposition | Initial section where each voice introduces the subject. |
| Answer | Imitation of the subject in a different voice, often at a different pitch. |
| Counterpoint | Artful combination of melodic lines, maintaining independence while harmonically interacting. |
| Stretto | Section where entries of the subject overlap, creating acceleration and intensity. |
| Episode | Transitional material between statements of the subject. |
| Coda | Concluding section providing a definitive ending to the composition. |
| Inversion | Technique where the subject is played upside down, creating a new melodic line. |
| Augmentation | Lengthening the duration of note values in the subject or counterpoint for a dramatic effect. |
| Diminution | Shortening the duration of note values in the subject or counterpoint for a brisker pace. |
| Modulation | Changing from one key to another within the fugue, contributing to harmonic complexity. |
| Fugal Devices | Various techniques employed in fugue composition (e.g., stretto, inversion, augmentation). |
| Final Entry | Last statement of the subject, often bringing the fugue to a climactic or conclusive point. |
| Polyphony | Presence of multiple independent voices, each with its own melodic line. |
| Development Section | Part of the fugue where the subject undergoes various transformations, adding complexity. |
| Art of Fugue | Term emphasizing the compositional skill and creativity required in crafting a fugue. |
| Consonance and Dissonance | Harmonic relationships between voices in a fugue. |
| Harmonic Progression | Movement of chords and tonal centers within a fugue. |
| Canon | Form of strict imitation, similar to a fugue but with a more rigid structure. |
| Fugato | Section in a composition where fugue-like elements are employed but don’t strictly follow fugue rules. |
Fugue: Suggested Readings
- Adorno, Theodor W. Introduction to the Sociology of Music. Translated by E. B. Ashton, Seabury Press, 1976.
- Bach, Johann Sebastian. The Art of Fugue. Edited by Donald Francis Tovey, Dover Publications, 1989.
- Bukofzer, Manfred F. Studies in Medieval and Renaissance Music. W. W. Norton & Company, 1950.
- Mann, Alfred. The Study of Fugue. W. W. Norton & Company, 1958.
- Taruskin, Richard. The Oxford History of Western Music. Oxford University Press, 2005.