Features a historical survey of writings on the fugue from the Renaissance to the present as well as four 18th-century studies: works by J. J. Fux, F. W. Marpurg, and more. Includes introductions, commentary, and 255 musical examples.
A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier—C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
"Fugue" is the story of one woman's quest to remember her past, while, at the same time, on the run from it. Hillary wakes up one morning in a motel room she doesn't recognize, next to a child she doesn't recognize. It is five years later than her last memory, and strange clues in her bags do not add up to where she has been and what she has been doing. She doesn't understand why she doesn't remember, but the secret might lie in her three year old son, Cayce, who seems to demonstrate pyschic ability. But when Cayce is nearly kidnapped by strangers who seem to be following them, Hillary knows she must find a way to remember, to save herself and her child from danger, before she loses him forever.
A young New York writer finds his life transformed by the poetry of Sylvia Plath, as well as by her suicide, in a novel that explores the poet's death and its impact on her survivors, including her husband, Ted Hughes.
Complete score of The Art of Fugue plus extensive commentary features all 14 fugues plus the four canons. The commentary outlines the fugues' contrapuntal devices and offers keen observations on the composer's craftsmanship.
"Elliot, A Soldier's Fugue is that rare and rewarding thing: a theatre work that succeeds on every level while creating something new. The playwright combines a lyrical ear with a sophisticated sense of structure to trace the legacy of war through three generations of a Puerto Rican family. Without ever invoking politics, Elliot, a Soldier's Fugue manages to be a deeply poetic, touching and often funny indictment of the war in Iraq."—The New York Times From Quiara Alegría Hudes, the Pulitzer Prize-winning author of Water by the Spoonful, comes this companion play, itself a Pulitzer finalist. In a crumbling urban lot that has been converted into a verdant sanctuary, a young Marine comes to terms with his father's service in Vietnam as he decides whether to leave for a second tour of duty in Iraq. Melding a poetic dreamscape with a stream-of-consciousness narrative, Elliot, A Soldier's Fugue takes us on an unforgettable journey across time and generations, lyrically tracing the legacy of war on a single Puerto Rican family. Elliot, A Soldier's Fugue, a finalist for the 2007 Pulitzer Prize, is the first installment in a trilogy of plays that follow Elliot's return from Iraq. The second play, Water by the Spoonful, received the 2012 Pulitzer Prize and will be published by Theatre Communications Group concurrently with Elliot, A Soldier's Fugue. The trilogy's final play, The Happiest Song Plays Last, premiered in April 2012 at Chicago's renowned The Goodman Theatre.
Science, religion, philosophy: these three categories of thought have organized humankind’s search for meaning from time immemorial. Reality’s Fugue presents a compelling case that these ways of understanding, often seen as competing, are part of a larger puzzle that cannot be rendered by one account of reality alone. This book begins with an overview of the concept of reality and the philosophical difficulties associated with attempts to account for it through any single worldview. By clarifying the differences among first-person, third-person, and dualist understandings of reality, F. Samuel Brainard repurposes the three predominant ways of making sense of those differences: exclusionist (only one worldview can be right), inclusivist (viewing other worldviews through the lens of one in order to incorporate them all, and thus distorting them), and pluralist or relativist (holding that there are no universals, and truth is relative). His alternative mode of understanding uses Douglas Hofstadter’s metaphor of a musical fugue that allows different “voices” and “melodies” of worldviews to coexist in counterpoint and conversation, while each remains distinct, with none privileged above the others. Approaching reality in this way, Brainard argues, opens up the possibility for a multivoiced perspective that can overcome the skeptical challenges that metaphysical positions face. Engagingly argued by a lifelong scholar of philosophy and global religions, this edifying and accessible exploration of the nature of reality addresses deeply meaningful questions about belief, reconciliation, and being.
"The reader discovers new satisfactions with such a book. Far from the insipid savors generated by a passive fascination, the text stirs up the joys of an endless activity." Le Monde