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- W2016183738 abstract "It is a commonplace that Byrd’s use of imitation—or fuga in contemporary terms—differs from that of his English contemporaries and immediate predecessors: Joseph Kerman’s studies in particular have revealed much about the workings of developmental fuga, so typical of the mature Byrd.1 Earlier English composers such as Tallis, Tye and Sheppard wrote fuga expositions—passages in which all or most of the voices have a statement of the fuga subject—by reusing a relatively small number of fuga subjects; and if there were a counter-exposition—a second exposition in which all or most of the voices have additional statements of the subject—it generally repeated the original exposition with minor, if any, alterations. In Byrd’s hands, however, fuga permeates the texture to a greater extent, to the point where the subject can sometimes become an ostinato. The present study deals primarily with early works by Byrd, and focuses exclusively on subjects that undergo little melodic development during the course of an exposition, but which are piled on top of one another to create fuga expositions of considerable complexity. In this context intervallic variations are largely the result of so many entries of the subject being kept simultaneously in play, rather than the growth and mutation of a subject that occurs in true developmental fuga, and this is something Byrd almost certainly inherited from his predecessors." @default.
- W2016183738 created "2016-06-24" @default.
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- W2016183738 date "2009-05-01" @default.
- W2016183738 modified "2023-09-24" @default.
- W2016183738 title "Fuga in early Byrd" @default.
- W2016183738 doi "https://doi.org/10.1093/em/cap017" @default.
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