A Study of Voice Leading Progression between Sounds inherent in Webern’s Three Songs op. 25, no. 1

2021 ◽  
Vol 28 (2) ◽  
pp. 59-79
Author(s):  
Yeajin Kim
Keyword(s):  
Voice Leading

Voice-Leading Spaces

1998 ◽  
Vol 20 (2) ◽  
pp. 175-208 ◽  
Author(s):  
Robert D. Morris
Keyword(s):  
Voice Leading

Johann Georg Ahle on Voice Leading and Dissonance

1976 ◽  
Vol 20 (1) ◽  
pp. 93
Author(s):  
Zay V. David Sevier
Keyword(s):  
Voice Leading

scholarly journals A “Proto-Theme” in Some of J. S. Bach’s Fugal Works

2020 ◽  
Vol 26 (4) ◽  
Author(s):  
John S. Reef
Keyword(s):  
Voice Leading ◽  
A Minor

This article focuses on a pattern of harmony and voice leading that appears, elaborated, in several fugue expositions (and generically related passages) by J. S. Bach. I contextualize this pattern in examples of “schematic” Baroque fugal writing and suggest that for Bach it functions as a sort of “proto-theme,” with respect to which certain expositions stand as “variations.” These expositions eschew normative I–V–I progressions of Stufen and thus offer a challenge to William Renwick’s exhaustive methodology for fugue analysis. Bach’s variations may respond motivically and energetically to a sense of retrogression implicit the proto-theme, as I demonstrate with an analysis of the Fugue in A minor from Book II of The Well-Tempered Clavier, BWV 889.

scholarly journals Resolving Tensions between Outer Form and Inner Form in Fugue: A Comparative Analysis of J. S. Bach’s Fugue in D minor (WTC I)

2020 ◽  
Vol 26 (3) ◽  
Author(s):  
Sarah Marlowe
Keyword(s):  
Comparative Analysis ◽  
Detailed Examination ◽  
Voice Leading ◽  
Tonal Structure ◽  
Musical Excerpts ◽  
Schenkerian Theory ◽  
Formal Design

This study offers a comparative analysis of J. S. Bach’s Fugue in D minor, from the Well-Tempered Clavier Book I (WTC I). Detailed examination of multiple divergent readings of the same musical excerpts raises important questions about Schenkerian theory and its application to fugal textures. I suggest that analytical discrepancies arise primarily when voice-leading concerns are not completely disentangled from our deeply rooted views of formal design in fugue. In the end, an over-reliance on the details of outer form risks blocking access to the fugue’s inner form. I identify and resolve significant differences that emerge at the foreground in these readings, later considering how a combined view of formal design (outer form) and tonal structure (inner form) resolves ambiguities and enhances our understanding of the work as a whole.

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