Poster Title
P-08 A Composition Project: An Original 12-tone Fugue Modeled after J.S. Bach’s BWV 847
Abstract
The specific goal of this project is to explore the compositional techniques of the 12-tone system developed by Arnold Schoenberg in 1921 and apply these techniques to fugal writing. In this process I am taking Bach’s fugue, BWV 847, and using it as the blueprint for my original 12-tone fugue. I will follow the same overarching structural pattern of BWV 847—retaining the number of voices, subject entries, and usage of the middle development section, while submitting them to the paradigms of 12-tone serialism. My composition will push the fugue form in an unexpected and more progressive direction. The 12-tone system negates the use of tonal centers and common practice harmony. To successfully compose a fugue no longer built on tonal relationships, I will employ unconventional techniques such as complex rhythmic patterns, pitch selection based on 20th-century practices, and serial relationships that will create the feeling of the traditional components of the fugue. This creative compositional project will result in an amalgamation of traditional and modern musical techniques in fugal writing.
Thesis Record URL
Location
Buller Hallway
Start Date
3-7-2014 2:30 PM
End Date
3-7-2014 4:00 PM
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Included in
P-08 A Composition Project: An Original 12-tone Fugue Modeled after J.S. Bach’s BWV 847
Buller Hallway
The specific goal of this project is to explore the compositional techniques of the 12-tone system developed by Arnold Schoenberg in 1921 and apply these techniques to fugal writing. In this process I am taking Bach’s fugue, BWV 847, and using it as the blueprint for my original 12-tone fugue. I will follow the same overarching structural pattern of BWV 847—retaining the number of voices, subject entries, and usage of the middle development section, while submitting them to the paradigms of 12-tone serialism. My composition will push the fugue form in an unexpected and more progressive direction. The 12-tone system negates the use of tonal centers and common practice harmony. To successfully compose a fugue no longer built on tonal relationships, I will employ unconventional techniques such as complex rhythmic patterns, pitch selection based on 20th-century practices, and serial relationships that will create the feeling of the traditional components of the fugue. This creative compositional project will result in an amalgamation of traditional and modern musical techniques in fugal writing.
Acknowledgments
J.N. Andrews Honors Scholar and Earhart Emerging Scholar
Advisor: Carlos Flores, Music