Dictionary of Music - Birding America

funk 153The fugue is thought to be descended from vocalmusic of the Renaissance, especially the motets ofthe Flemish masters (see FLEMISH SCHOOL), whichoften made use of different voices entering in successionand overlapping. In time these devices cameto be used in instrumental music, especially in thesixteenth-century ricercar for organ, which had subjects(usually several) that were repeated again andagain, and also in the organ canzona. Eventually, inthe course of the seventeenth century, the fugueemerged, largely as a result of developments takingplace in Germany. The first great master of the fuguewas Sweelinck, who wrote fugues for organ and wasan enormously influential teacher. Almost all themajor keyboard composers of the baroque period(1600–1750) contributed to the development of thefugue, most notably Dietrich Buxtehude (c.1637–1707), Johann Kasper Ferdinand Fischer (c.1665–1746), and Johann Pachelbel (1653–1706).Some of their works foreshadowed the fugues ofBach, who was the greatest master of the form.Especially famous are Bach’s keyboard fugues inThe Art of Fugue, which illustrate almost every conceivablecontrapuntal treatment of a single theme,and in The Well-Tempered Clavier, with its fortyeightpreludes and fugues, two for each of the majorand minor keys.Fugues may be written for almost any vocal orinstrumental combination—for voices, eitheraccompanied or not; for an instrumental ensemble;or for a keyboard instrument. They may be independentcompositions or portions of a larger work(sonata, symphony, oratorio, opera). Although thefugue is most commonly thought of as a baroqueform, there are outstanding examples by such latercomposers as Mozart, Beethoven, and Brahms.Among the twentieth-century composers who havewritten outstanding fugues are Hindemith (Ludustonalis, twelve fugues for piano), Stravinsky (in hisConcerto for two pianos and the Symphony in C),Shostakovitch, and Webern. —double fugue a Afugue in which two subjects (themes) are introducedat the beginning and are developed together throughoutthe composition. An example of this type isfound in the opening Kyrie of Mozart’s RequiemMass, K. 626, where one theme is begun by thebasses in measure 1, and a second theme is begun bythe altos in measure 2; the two themes then continuetogether throughout the movement. (Some authoritiescall the second theme in a double fugue of thistype a countersubject.) b A fugue having two subjectsthat are developed separately before beingcombined. This type of double fugue has three sections:first a fugue on the first theme, then a fugue onthe second theme, and finally a fugue on the twothemes contrapuntally combined. —triple fugueA fugue with three subjects (themes), which areintroduced and developed either in turn or together.The method is essentially the same as that in a doublefugue. —quadruple fugue A fugue havingfour subjects, usually developed together.fugue tunefull anthemAnother name for FUGING TUNE.See under ANTHEM.full cadence Another term for authentic cadence.(See under CADENCE.)full orchestra 1 The entire orchestra (in contrastto just a section of it, such as strings, woodwinds, orpercussion). 2 The total number of players normallyused in a large orchestra (in contrast to a chamberorchestra or other smaller group).full organ A direction to the organist to play atfull strength, using all or nearly all the stops.full scoreSee under SCORE.fundamental 1 The first, lowest note of the HAR-MONIC SERIES. 2 Also, root. The basic note on whicha chord is built.funèbreSee FUNERALE.funerale (foo — ′′ne rä′le) Italian. Also, French,funèbre (fY ne′br ə ). A direction to perform in astately, mournful manner.funk A style of African-American popular musicoriginating about 1960. It resembles RHYTHM ANDBLUES but is characterized by a high-volume bass,heavy syncopation with extended vamping over one