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| | Journal of Seventeenth-Century Music | Vol. 6 No. 2 | Review (Site not responding. Last check: 2007-11-07) |
 | | All of these subgenres—simple fugues, double fugues with one, two, or three themes, counterfugues, and mixed fugues—presuppose specific contrapuntal characteristics that, for Dreyfus, loom much larger than the features of fugues that have traditionally garnered more attention, features like the style of the subject, the relationship between subject-answer, and the formal layout. |
 | | Such questions about the nature of Klemm’s subgenre of double fugue may in themselves seem insignificant, but they begin to flesh out the seventeenth-century context that served as a foundation for later composers, including J.S. Bach. |
 | | It is precisely this ambiguity in how a subject is to be analyzed that leads Dreyfus, for instance, to note how “the idea of a double fugue with one subject, while unfamiliar today, has an intuitive appeal in making sense of Bach’s fugues”. |
| sscm-jscm.press.uiuc.edu /jscm/v6/no2/Miller.html (2430 words) |
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