There is a discussion of the number of voices, order of entries", order of statements of the theme, key relationships, and redundant entries. In Chapters III and IV, analyses are made of the expositions in the forty-eight fugues of Bach's Well-Tempered Clavier and Hindemith's Ludus Tonalis. Emphasis is placed on the fugal form that Bach used and on Hindemith's neo-Baroque approach to fugal writing in the twentieth century.
In this chapter, imitative forms of composition which gradually evolved toward the fugue are traced from their very early beginnings through the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries. An emphasis is placed on a comparison of Bach's fugal writing with that of his immediate predecessors (composers of the seventeenth and early eighteenth centuries who were writing in the fugal style) and on a comparison Of Hindemith's theory of tonality, as expressed in The Craft of Musical Composition, with that of the traditional harmonic concept of Bach's day.Ĭhapter II deals with the evolution of the fugal concept. This comparison is made on the basis of a comprehensive analysis of the fugal expositions both collections of fugues mentioned ( The Well-Tempered by Bach and the Ludus Tonalis by Hindemith).Ĭhapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J.
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