The fugue as a genre and a technique of musical composition, from the 17th to the 20th century

Course Information
TitleΗ φούγκα ως είδος και ως τεχνική μουσικής σύνθεσης και η εξέλιξή της από τον 17 ως τον 20ό αιώνα / The fugue as a genre and a technique of musical composition, from the 17th to the 20th century
FacultyFine Arts
SchoolMusic Studies
Cycle / Level1st / Undergraduate
Teaching PeriodWinter
Course ID600015142

Programme of Study: PPS Tmīmatos Mousikṓn Spoudṓn (2017-sīmera)

Registered students: 9
OrientationAttendance TypeSemesterYearECTS
Musicology / Music EducationElective Courses745
Music CompositionElective Courses745

Class Information
Academic Year2018 – 2019
Class PeriodWinter
Faculty Instructors
Weekly Hours3
Class ID
Course Type 2011-2015
Knowledge Deepening / Consolidation
Mode of Delivery
  • Face to face
The course is also offered to exchange programme students.
Language of Instruction
  • Greek (Instruction, Examination)
  • English (Examination)
Learning Outcomes
Historical and analytical approach aims at helping the students perceive a broader view of a course that has become an element of basic technical skill in their music theory courses (fugue). This broader view refers to the stylistic enlargement of the musical language and texture within a repertory of quite different music periods. The students will be able to stylistically and analytically examine and comprehend works that use the element of fugue (as genre or/and technique) with score, audio, and even in their performances.
General Competences
  • Apply knowledge in practice
  • Work autonomously
  • Be critical and self-critical
  • Advance free, creative and causative thinking
Course Content (Syllabus)
This course is a review of the fugue as a genre and also as a technique of musical composition within other musical genres, within the time course of four centuries. Since the fugue is the culmination of the late Baroque contrapuntal genres, its basic structural elements are examined first: the subject, the answer, the exposition and counter-exposition, the episodes, the coda, stretto techniques etc., with special regard to the work of J. S. Bach. Then, the historical and stylistic review of fugue begins, from the late 16th-century early fugal forms, such as caccia, canzona, ricercare, fantasia, by composers like Sweelinck, Frescobaldi, Froberger και Buxtehude, and moving on afterwards to the classical and romantic period by examining the appropriation of the fugal genre and technique to the musical language and repertory of the 18th and 19th centuries (through Mozart, Beethoven, Mendelssohn, Brahms, Franck). During the 20th century a revival of the fugue is impressively projected, either through Baroque models (Reger, Busoni), or German expressionism [Schoenberg, Pierrot lunaire («Der Mondfleck»), Berg, Wozzeck (Act II, Scene II), neoclassicism (Stravinsky, Symphony of Psalms - 2nd movement), and neofolklorism (Bartók, Music for strings, percussion and celesta – 1st movement, Sonata for solo violin). Work cycles are also reviewed (Hindemith, Ludus tonalis and Shostakovich, 24 Preludes and Fugues), or unexpected idioms and repertory (Piazzolla, Fuga y misterio).
fugue, genre, technique, style, texture, analysis
Educational Material Types
  • Notes
  • Slide presentations
  • Audio
  • Multimedia
  • Book
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Communication with Students
Course Organization
Laboratory Work80.3
Reading Assigment301
Written assigments200.7
Artistic creation301
Student Assessment
The written essay/project is equivalent to the written exams at the end of the semester. If a performance takes place the student is given 1,5-2 grades plus, in the total evaluation.
Student Assessment methods
  • Written Exam with Multiple Choice Questions (Summative)
  • Written Exam with Short Answer Questions (Summative)
  • Written Exam with Extended Answer Questions (Summative)
  • Written Assignment (Summative)
  • Performance / Staging (Formative)
  • Artistic Performance (Summative)
Course Bibliography (Eudoxus)
1. Παναγιώτης Αδάμ, Φούγκα, Αθήνα: Παπαγρηγορίου - Νάκας, 2015. 2. Ebenezer Prout (μτφ. Γιώργος Πλουμπίδης), Ανάλυση Φούγκας, Αθήνα: Παπαγρηγορίου - Νάκας, 2006.
Additional bibliography for study
Άρθρα – μονογραφίες (ειδικού & γενικού ενδιαφέροντος) Αδάμ, Παναγιώτης (2001), «Καλά συγκερασμένο σημαίνει ισοσυγκερασμένο;», Μουσικός Λόγος 3: 77-92. Αλεξιάδης, Μηνάς (2001), «Προβληματισμοί γύρω από τις επιδράσεις της τζαζ: στη λόγια ευρωπαϊκή μουσική της δεκαετίας του ’20 και στις όπερες του Kurt Weill», Μουσικολογία 12 – 13: 206 – 236. Γιάννου, Δημήτρης (1994), Ιστορία της Μουσικής, τόμος Α΄ (μέχρι τον 16ο αιώνα), Θεσσαλονίκη: University Studio Press. Μαλιάρας, Νίκος (2005), «Η Τέχνη της Φούγκας», Πολυφωνία 6: 53-63. Mπαλτάς, Άλκης (1995), Σημειώσεις για το μάθημα της Φούγκας, Θεσσαλονίκη, Ωδείο Μουσικό Κολλέγιο. Φούλιας, Γιάννης (2006), «Ερμηνευτικές προσεγγίσεις ενός πολυδιάστατου έργου: Η Μεγάλη Φούγκα του Beethoven», Μουσική Ανάλυση και Ερμηνεία, Πρακτικά Β΄ Συνεδρίου Μουσικολογίας (Μέγαρο Μουσικής Αθηνών, 4-6/11/2003), Αθήνα: Οργανισμός Μεγάρου Μουσικής Αθηνών, σ. 269-289. Φούλιας, Γιάννης (2007), “Είδη και μορφές της έντεχνης μουσικής στην ιστορική τους προοπτική: Φούγκα (δεύτερο μέρος: είδη φούγκας)”, διαδικτυακή δημοσίευση στην ιστοσελίδα:, Μάρτιος 2007. Bent, Ian, ed. (1994), Music Analysis in the Nineteenth Century – Vol. I: Fugue, form and style, Cambridge: Cambridge University Press. Butt, John (1997), The Oxford Companion to Bach, Cambridge: Cambridge University Press. Christensen, Thomas, ed. (2002), The Cambridge History of Western music theory, Cambridge: Cambridge University Press. Dahlhaus, Carl (1984), Die Musiktheorie im 18. und 19. Jahrhundert, Darmstadt: Wissenschaftliche Buchgesellschaft. Dahlhaus, Carl (1989), Nineteenth-Century Music, J. Bradford Robinson (trans.), Berkeley: University of California Press. Harrison, D. (1990), “Rhetoric and Fugue: an Analytical Application”, Music Theory Spectrum xii: 1–42. Lendvai, Ernő (1971), Béla Bartók. An Analysis of his Music, Λονδίνο: Kahn & Averill, 1971, σ. 27-28. Machlis, Joseph (21979), Introduction to contemporary music, Νέα Υόρκη: W.W. Norton & Co. Mann, Alfred (1965), The study of fugue, Νέα Υόρκη: Dover 1965. Morgan, Robert P. (1991), Twentieth century music, Νέα Υόρκη: W.W. Norton & Co. Paja, Jadwiga (1990), “The polyphonic aspect of Lutosławksi’s music”, Acta Musicologica 62: 183-191. Straus, Joseph N. (1986), “Recompositions by Schoenberg, Stravinsky, and Webern”, The Musical Quarterly 72, no. 3: 301-328. Sassoon, Humphrey F. (2003), “Royal peculiar: J. S. Bach’s Musical Offering and the source of its theme”, The Musical Times 1885: 38-39. Tischler, Hans (1952), “Barber’s piano sonata, op. 26”, Music & letters 33: 352-354. Verrall, John W. (1966), Fugue and Invention - In Theory and Practice, California: Pacific Βοok Publishers. Walker, Paul (1995), “Rhetoric, the Ricercar, and J.S. Bach's Musical Offering”, Bach Studies, vol. II, ed. D.R. Melamed, Cambridge: Cambridge University Press, 175-191. Walker, Paul (1990), “Modality, Tonality, and Theories of Fugal Answer in the Late Renaissance and Baroque”, Church, Stage, and Studio: Music and its Contexts in Seventeenth-Century Germany, Ann Arbor: The University of Michigan Press, 361-388. Εγκυκλοπαίδειες – Λεξικά: Kennedy, Michael & Bourne, Joyce, ed.(52007), The Concise Oxford Dictionary of Music, Oxford - Νέα Υόρκη: Oxford University Press. Michels, Ulrich, Άτλας της Μουσικής, B΄ τόμος, Ινστιτούτο Έρευνας Μουσικής και Ακουστικής (μτφ. & επιμ.), Αθήνα: Φίλιππος Νάκας, 1994. Riemann, Ηugo, Riemann Musik – Lexikon, Schott: Mainz (Λονδίνο, Ν. Υόρκη, Παρίσι) 1972 Sadie, Stanley, ed. (2001), The New Grove II Dictionary of Music and Musicians, Λονδίνο: Macmillan Publishers. Εγχειρίδια σύνθεσης (18ος αι. – αρχές 20ου αι.), ως ιστορικά τεκμήρια: J.J. Fux: Gradus ad Parnassum (Βιέννη, 1725). J. G. Albrectsberger, Gründliche Anweisung zur Composition (Λειψία 1790). F.W. Marpurg: Abhandlung von der Fuge (Βερολίνο, 1753). L.A. Sabbatini: Trattato sopra le fughe musicali (Βενετία, 1802). A. Reicha: Über das neue Fugensystem (Βιέννη, 1805) [προσθήκη στην έκδοση του έργου Trente six fugues pour le piano-forté]. F.-J. Fétis: Traité du contre-point & de la fugue (Παρίσι, 1824). L. Cherubini - J.Halévy: Cours de contrepoint et de fugue (Παρίσι, 1835). C.T. Weinlig: Theoretisch-praktische Anleitung zur Fuge für den Selbstunterricht (Δρέσδη, 1845). E.F. Richter: Lehrbuch der Fuge (Λειψία, 1859). H. Riemann: Katechismus der Fugen-Komposition (Λειψία, 1890–94). E. Prout: Fugue (Λονδίνο, 1891). E. Prout: Fugal Analysis (Λονδίνο, 1892). T. Dubois: Traité de contrepoint et de fugue (Παρίσι, 1901). A. Gédalge: Traité de la fugue (Παρίσι, 1901). C.H. Kitson: Studies in Fugue (Λονδίνο, 1909).
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