Numerous scholars have studied the Clavierübung III, but their studies mainly focused on the relationship between the chorale text and Bach♠s response in music. Analysis without explaining J.S. Bachs word painting in other chorale preludes can be found easily, but most analyses treat rhetoric, especially those dealing with Clavierübung III. There have been numerous studies linking Bach's organ works to Lutheran doctrine. However, to give a better understanding of the work's structure and its implications for performance, a contrapuntal analysis is indispensable. This study deals with an analysis focused on canonic and fugal techniques in selected large chorales, and it will provide a better understanding of Clavierbung III. For purposes of comparison with typical fugal techniques, the C minor fugue from the Well-Tempered Clavier I, BWV 847, is taken as a model. This work reveals typical eighteenth-century, late Baroque fugal structure with a well-defined subject. The episode modulates through the keys of Eb major-G minor and C minor. Below is an outline of the present paper. Chapter I discusses the purpose of this study. Chapter II covers the earlier research on Clavierübung III and includes a discussion of the general background of the Clavierübung III. Chapter III provides a contrapuntal analysis of the three chorale preludes. A translation of the text will be included in each analysis.Chapter IV, the conclusion, will summarize and confirm the findings from the present study of the analysis.

Notre thèse se propose d'étudier les questions liées à la réalisation sonore des fugae, à partir des sources musicales d'un corpus d'œuvres attribuées à Josquin Desprez. Au sein du vaste répertoire des fugae composées au tournant du XVIe siècle, celles composées par Josquin constituent un ensemble remarquable par sa diversité, sa richesse technique et musicale, ainsi que par la complexité des questions qu'il soulève. En effet, la réalisation de ces fugae pose des difficultés liées d'une part à l'interprétation de leurs notations canoniques, et d'autre part à la réalisation de leurs parties fuguées. Si les théoriciens contemporains du compositeur définissent en effet la fuga comme une imitation rigoureusement exacte entre la partie de dux et celle(s) de comes, force est de constater que toutes les fugae considérées dans cette thèse ne répondent pas à ce critère. Certaines ne permettent pas une imitation parfaitement exacte ; d'autres semblent permettre plusieurs réalisations distinctes, parfois radicalement différentes. Bien que des théoriciens plus tardifs – en particulier Zarlino – introduiront des termes permettant de penser ces autres types d'imitation, ceux-ci n'existent pas encore du vivant de Josquin. Les pratiques compositionnelles attestées au sein des œuvres étudiées divergent ainsi, à maints égards, de la théorie contemporaine. À travers une étude des sources musicales des fugae retenues, ainsi que d'un ensemble de sources théoriques imprimées avant 1530, nous tenterons de comprendre les raisons motivant ces écarts, mais également de saisir les enjeux de la réalisation sonore des fugae, à partir des notations canoniques préservées dans les sources. / This dissertation investigates the musical sources of a corpus of fugal works attributed to Josquin Desprez, in order to study the various issues arising from the interpretation of fugae. Within the large repertoire of fugae composed at the turn of the 16th century, those composed by Josquin stand out as exceptionally diverse and rich, technically and musically. What's more, they arise many difficult issues for the singers. Indeed, those fugae confront us with problems related to the interpretation of canonic notations, on the one hand, and with the realization of the fugal parts themselves, on the other hand. Whereas the contemporary theorists define fuga as a perfectly exact imitation between the dux and the comes parts, it is noticeable that every fuga studied in this dissertation do not meet this criterion. Some of them cannot be sung with an exact imitation; others seem to allow several possible realizations, sometimes radically different. Although later theorists – Zarlino, in particular – will introduce specific terms that refer to those other types of imitation, those terms do not exist during Josquin's lifetime. In multiple ways, compositional practices that can be observed within the works studied diverge from the musical theory of the time. A study of the musical sources of the fugae selected, and of an important corpus of contemporary theoretical sources will lead us to a better understanding of the reasons that motivated those divergences, and of the issues related to the realization of fugae from canonic notations preserved in the sources.

京都大学 / 0048 / 新制・課程博士 / 博士(医学) / 甲第22340号 / 医博第4581号 / 新制||医||1042(附属図書館) / 京都大学大学院医学研究科医学専攻 / (主査)教授 影山 龍一郎, 教授 井上 治久, 教授 上杉 志成 / 学位規則第4条第1項該当 / Doctor of Medical Science / Kyoto University / DFAM

Thematic unity in music occurs when elements from a musical idea appear frequently, in significant places and their presence is recognized or experienced on or beneath the surface. In fugal compositions, thematic unity is evident in the opening statement of the subject and it permeates each layer of its texture. Three analytical perspectives are used to investigate the degree to which local thematic material anticipates later structural features in Johan Sebastian Bach's Fugue in G minor WTC II, and Georg Frederic Handel's Fuga II in G Major. The analytical perspectives identify: (1) cohesive relationships between motivic fragments, (2) underlying motives and their relationships to keys and harmonic progressions, and (3) voice leading reductions relative to linear and tonal prolongation. Arnold Schoenberg, Hans Keller, and Rudolph Reti provide valuable insights concerning the organic nature of thematic material. The voice leading reductions of Heinrich Schenker and William Renwick offer procedures that reveal underlying thematic relationships. The cohesive elements of the selected fugues will be explained with reference to immediate and long-range relationships.

In 1950-51, for the bicentennial of the death of J. S. Bach, Dmitri Shostakovich wrote his collection of Twenty-four Preludes and Fugues, Op. 87. This thesis is a study of the fugal technique of Shostakovich as observed in Op. 87, in light of the fugal style of Bach as observed in The Well-Tempered Clavier, Volume One. Individual analyses of each of the twenty-four Shostakovich pieces yield the conclusion that Op. 87 is an emulation of Bachian fugal methods as observed in The Well-Tempered Clavier, Volume One.

The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J. S. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. 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). Chapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. 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. Chapter II deals with the evolution of the fugal concept. 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. 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 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 .There is a discussion of the number of voices, order of entries", order of statements of the theme, key relationships, and redundant entries. Also discussed In these chapters are the beginning and ending notes of the Subject, a change in tonality of the subject range and length of the subjects. There is, further, a discussion of the real and tonal answers and the reasons for the use of a tonal answer, recurring countersubject, invertible counterpoint, interludes, length of the exposition, and the cadences at the end of the fugue expositions. in Chapter V the fugal writing of Bach, as demonstrated in the fugue expositions of The Well-Tempered Clavier, and that of Hindemith, as demonstrated in the fugue expositions of the Ludus Tonalis, are compared. This comparison of these two styles of fugal writing shows the two composers' techniques and procedures to be very much alike except in Hindemith's expanded concept of tonality. Although Bach's set of fugues has set a standard for this type of writing, Hindemith has shown that this old form is still capable of being used with originality when adapted to twentieth-century practices.