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A COMPARATIVE ANALYSIS of the EXPOSITIONS in the FUGUES THOSE of PAUL HINDEMITH in LDUS T-ONALIS THESIS Presented to the Graduat

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A COMPARATIVE ANALYSIS of the EXPOSITIONS in the FUGUES THOSE of PAUL HINDEMITH in LDUS T-ONALIS THESIS Presented to the Graduat sis' A COMPARATIVE ANALYSIS OF THE EXPOSITIONS IN THE FUGUES OF J. S. BACK IN.ThS j-TEMPESED CLVLSR AND THOSE OF PAUL HINDEMITH IN LDUS T-ONALIS THESIS Presented to the Graduate Council of the North Texas State Ufiversity in Partial Fulfillment of the Requirements For the Degree of MSTE- OF MUSIC By Dorothy N; Foster, B. ft. S. Denton, Texas August, 1973 Foster*Dorothy N., A maative A z if 2, e ) xp sitions ntLg. ht- eipe nd those __ Hindemithinuds Master of Music (Theory)s Au t., 1973 170 pp. 23 tables, 64 figures, biblio- graphy, 105 titles. The problem with, which this thesis is coneerned is tha o alyzin nd comparing the fugal writing and contrapuntal style Of J. 0. Bach in the fugue expositions of W -Tempere4 Clvirand thatof Paul Hndmith in the fugue expositionsof the gll s. This comparison is made on the bassOfa comprehensive analysis ofthe fugal expositions both ol- lections of fugues mentioned ( e -S edC.Uvieg by Bah and the J g To is by Hindemith). Chapter I includes a discussion of the careers and compo- sitional teehniques of Bach and aindenith. An emphasis is placed on a comparison of Bach's fugal writing with that of s immediate predecessors (composers of the seventeenth and early egkteh 6et ies who were writing in the fugal ayle) and on a comparison Of Hindemithstheory of tonality, as expressed in The C Somgsition, with that of the traditional harmoniceaon- cept of Bach's day. Chapter U deals witthe evolution of the fugal concept. In this chapter, imitative formsofo imposition which gradually evolved toward the fugue are traced from their very early begin- rungs through the siXteenth, seventeenth, eighteenth, nineteenth, 2 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 exposi- tions in the forty.eight fugues of Bach's 1-Tempered Clavier and Hindemith's al .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 countersubjet, iAvertible 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 l-empered lale r, and that of Hindemith, as demonstrated in the fugue expositions of the onal are compared. This comparison of these two styles of ugal writing shows the two composers' techniques and procedures to be very much alike except in indemith'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. pkø TABLE 0? CONTENTS Page LIST OF TABLS . v LIST 0 OFILLUSTRATIONS. .. ......... vi Chapter I XBACH. AND HINDEMITH--A DISCUSSION OF CAREER AND OF COMPOSITIONAL TECHNIQUES. *. Johann Sebastian Baoh Paul Hindemitu II. EVOLUTION OF THE FUGAL CONCEPT. 19 III. THE POSITIONS OF THE FUGUES IN sTD CEAVIE BY Jo, S. BACH. 41 IV. THE EJ(POSITIONS OF THE FUGUES IN LUURS Tqi. BY PAUL HINDEMITH. 120 V. CONCLUSI LUONS.. ON. .. 0. 0.... 1.+8 BIBLIOGRAPHY . 164 il, LIST O TABLES Table Page I. BeginnIng and Ending Note of the Fugiae Subjeets Ange .. pelClavier . .... 110 II. Melodio Range of the ?ugue Subjects in Th e el- Tespered Clavier .o. ... 1 III. Length of the Fuge Subjeots In .1,7quTempgred Clavler.... ... 2 IV. Reasons for Tonal Answers in the Fugues fh e l ired Olavler . ..... .113 V Recurring Countersubjects in the Expositions of the Fugues in te Wel eed CvIer. 114, VI. Interludes in the Expositions of the Fugues In Thell-Tempered Clavier . 115 VII. Length of the Expositions In the Fugues of The Well-Temper Clavier ..... 117 VIII. Cadence at the End of the Expositions in the Fugues of h j- ered Clavier. 118 ifX. Tonal Centers for the Statements of the Subject in the Fugal Sxpositions of . *Tonal.142 X. Length of the Exposition, Length of the Subject, and Aange of the Subject In the Fugues of kud~q.. Tnali.. .. .. .144 XI. Beginning and Ending Note of the Fugue Subjects inEudusoals. ... .. .... 145 XII. Interludes In the Expositions of the Fugues InIgi4uTa0 . .. 146 XIII. Cadence at the End of the Expositions in the Fugues ofTUs, .......... 147 XIV. Order of Entries in the Three-Voice Fugues of The Well-Temperedylale 99. 9 .9 999 149 IT Table Page XV. Beginning and 3rnding Notes of the Fugue Subjects in The Well-TO p*red clavier and ~ - - - . 153 XVI . Number of ?ugue Subjects that Modulate and those that do riot "* 0 0 0 in The Well- ed CyII ie and IidF'nas . .. 0. 15L4 XVII. Melodic Range of the Fugue Stabjects in e eered .Clavier and 2- -- - 155 XVIII. Length of the Fugue Subjess in ----loiTe pered Clavi " 0 00 0 156 XIX. Real and Tonal Answers in he WellT ered Clavier and . * **.t'on . .0 . 0 " 0 0 0 157 XX.* Recurring countersubjects in the Fugue positionss of Wel-Tempered laer andudus Tonal .i.7. 158 XXI. Interludes in the Bxpositions of In The the Fugues .11 40. -4..red 9avyjj. .v lu-,u -I--o . 0 .0 159 XXII. Length of the Fugue Expositions in Teered WAvier, and LUdttonali........... " . 160 XXIII. Cadences at the Conolusion of the Expositions of the Fugues in "" -Tempered lavier and -.2.aiis. 4 LIST OF ILLUSThATION8 isure Page I. Hindemith, TheC t ,of . Series . ... ." 11 2. Hindemith, The Craft of Muisal competition, SerleslI .7. .7.. .. .. 12 3. Hindemith, The Craft of Muslal mion. Table rEdriaz Groups . .. 12 4. Bach, Th Well-Tempered Clavier, Book One, f'uga !7ieasures 1-47. .9. 14*7 5. Saoh, The Well-Tempered Clavier, Book One, Fuga !T eas res 09 . .. 49 6. Bach, The Well-emprd Clavier, Book One, Puaga !!Y measures -... 50 Book One, 7. Bah,0uga te!Vgmeasures Wel-Temered Clavie,- 7..a . 51 8. Bach, h Well- Temped Clavie', Book One, ?uga , ~easures -E. 9 52 9. Bach, i -We Tempared Clavier, Book One, uga VI, measures 1Owl. " 090 54 10. Bach, The We - 'Tggrclavie Book One, uga VI , measures 1-12 . .. 11. Bach, h Well- empered lavior, Book One, Aga 'III, measures Ia0,V. * . * . ~. 56 12. Baoh, The el-Te -d-Qlavier, Book One, "0 " ?uga Imeasures 1- .. 57 13. Bach, The We -Tempe?ed g~vqr, Book One, F a X, measures 1-7. 9 .9 . 9 . 58 P4g. Bach, The We-pee Clyver, Book One, Puga measuree 1-134 -. *. .- 9 . " . 59 15. Bach, . Wel.-TMped Clavier, Book One, . .9. Fuga XIl7 lIeasures. 1-22 . 60 vi Figure Page 16. Bach, The Well-Tered Olavier, Book One, Fauga XI1, measures 1-13. 9.. 17. Bach, The Well-TeApered clavier, Book One, Fuga ETV, measures P1W. 18. Bach, The Well-Tempered Clavier, Book One, Fuga xv, measures 1-13 . 64 19. Bach, The Well-Tempered Clavier, Book One, Fuga xvi, measures 1-. Bo . 20. Bach, Th.LWell-eUpered ClavIgr, Book One, Fuga XVTI, measures 1- . 0 . 66 21. Bach, heWell-Tempered Clavier, Book One, Fuga 3 m!I, easures 1-9. " . 22. Bach, . Well-Temered Clavier, Book One, Fuga X measures 1-7. * . 68 23. Bach, The ell-Tompered Clavier, Book One, Fuga XX, measures IL-1.7. 0 69 24. Baoh, jWell-Tempered Clavier, Book One, Fuga X measures 1-17. 25. Bach, Th Well-feMeredC lavier, Book one, ?uga RTi, measures'.1-i.. z6. Bach, heWell-SSpered Clavier, Book One, Fuga .XX, measures 1-9. * 9 . 0 9 . a " 73 27. Bach, heWell-Tempered Clavier, Book One, Fuga 3 I, measures116. 0 0 . 74 28. Bach, The Well-Tempered Clavier, Book Two, Fuga TIeasures 1-13. .9 S. 76 29. Bach, The Well-Tempered Clavier, Book Two, FugaII,~measures . .9 . 77 30. Bach, he -Tempered Clavier, Boo1k Two, Fuga1, measures -7. .9 a . *. 79 31. Bach, th f~lTmee Wlavier, Book Two, Fuga IV, measures 1-7. 80 32. Bach, The Well-Tempered Clavier, Book Two, Fuga easures 1-7. viii 'Figure Page 33. Bach, t Wempered Clavier, Book Two, ?usa v Measure -8 . 82 34. Bach, The Well-Tempered Clavier, Book Two, Fuga VII, measures 1-30 . .a.a 83 35. Bach, Th Well-Tempered Clavier, Book Two, " 0 ". Fuga measuresTT-T.. V!IT, . 85 36. Bach, We-Temp2ered Clavier, Book Two, Fu-a IX, measures 1-7 . 86 37. Bach, The Well- r d Clavier, Book Two, Puga Ktmeasures 1-8 .0 . 0 .0 87 38. Bach, The Well-Tempered Clavier, Book Two, FOuA XI7measures 1-M23. 89 39. Baoh, The Well-Tempered Clavier, Book Two, Puga 7 measures 1-57. 0 . 0 0 . " a 0 90 . a..a 40. Bach, The Well-Tempered Clavier, Book Two, Fuga XII!, measuresT .. 0.0 0 0 0 5 S 91 41. Bach, The Well-emCered lavier, Book Two, Fuga XIV, measures 1-11 * . .0 " " a 92 42. Bach, The Well-TfErpred Clavier, Book Two, Fuga XYmeasures 1-20. 0 . 0 0 0 93 " 43. Bach, The, Wel-Tmpered Clavier, Book Two, S Fuga XVI, measures 1-24.o. 0 . 0 . 44. Bach, The Well-Tempered Clavier, Book Two, Fuga XVII, measures 1-10.
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