This essay is abstracted from my dissertation, the Grand Fugue for Orchestra with Analysis. While my doctoral dissertation has put emphasis on sectional analysis of Grand Fugue for Orchestra, this essay was intended to develop a new theory on the fugu...
This essay is abstracted from my dissertation, the Grand Fugue for Orchestra with Analysis. While my doctoral dissertation has put emphasis on sectional analysis of Grand Fugue for Orchestra, this essay was intended to develop a new theory on the fugue based on twelve notes.
The essay consists of two parts. The first part, the preliminary theory for the composition of the Fugue, focuses on PTO, the basis for the fugal theory in preparation for the second part.
The second part, explains the theory about the fugue in depth by analyzing pitch structures and rhythm along with the structure of articulations.
The relation of Subject and Answer to traditional Fugue derives from complementary relationship between Tonic and Dominant of traditional Fugue. The relationship between Subject and Answer resulting from functional harmony was inaccurate owing to the change of tonality by the real Answer and the transformation of melodic line by the tonal Answer. Grand Fugue for Orchestra maintains the concept and principle of the traditional fugue by combining both techniques of tonal and real answer, and reconstructs the form applicable to the twelve-tone music theory.
In addition to this, it expands into the new 24-tone congregate theory the traditional theory used up to now. Furthermore, the pitch structure of Grand Fugue is applied to both the rhythm and the articulations.
The theory in this composition should not be limited to the present composition only, but also can be used as a generalized theory applicable to any fugal composition with twelve-tone.