The Ricercar, The Ricercar Style, and The Tonally Stable Fugue
Main Article Content
Abstract
The innovative tendencies of 17th century European music were brightly manifested in the instrumental ricercar,
which shaped the ricercar style – a complex of traits of the ricercar, furnished with an abundance of contrapuntal
technique. It became not only an important form-generating factor, but also a bearer of substance in instrumental
music. The emergence of the ricercar and its obtainment of the forefront positions in the 18th century created the
foundations for the development of a number of instrumental genres, among which of special interest is the fugue.
There exists the opinion that the ricercar is the predecessor of the ricercar. The article brings forth the hypothesis
that it is not the ricercar that is the predecessor of the fugue, but the fugue is the descendent of the fugue. This kind
of interchange in the pair of “cause-effect” generates an important question: where does the boundary between the
ricercar and the fugue occur, and how is it ensured?
Analysis of a large number of ricercars makes it possible to find this boundary and determine the main reason
of its appearance: the formation of the tonal system. It exacerbates the importance of high-altitude relations between
the various sections of the forms, gradually replacing the traditional modal-hypomodal relations with tonic-dominant
ones, having created the conditions for emergence of tonal contrasts – new and quite effective ones – in the question
of form-generation.
The 17th century fugue, having appreciated the technical potentials of the ricercar and having made use of the
power of tonal contrasts, opened up a new page in music history.
Keywords: ricercar, ricercar style, motet, mass, modal system, mode-hypo-mode, tonal system, tonal plan, fugue.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Drozhzhina M. N., Tonchuk P. O. O statuse fugi v sovremennom muzykoznanii [About the Status of the Fugue in Contemporary Music Scholarship]. Problemy muzykalnoj nauki [Music Scholarship]. 2015, No. 2 (19), pp. 28–35.
3. Dubravskaya T. N. Kompozitsionnye idei Motsarta v svete istoricheskoy evoliutsii muzykalnoy formy: final simfonii “Yupiter” [The Compositional Ideas of Mozart in Light of the Historical Evolution of Musical Forms: the Finale of the “Jupiter” Symphony]. Motsart v dvizhenii vremeni (po materialam mezhdunarodnoy konferentsii) [Mozart in the Motion of Time (on the Materials of the International Conference)]. Moscow: Kompozitor, 2009, pp. 48–59.
4. Kremlev Yu. A. Intonatsiya i obraz v muzyke: sb. st. [Intonation and Image in Music: Compilation of Articles]. Intonatsiya i muzykalnyy obraz [Intonation and the Musical Image]. Мoscow: Muzyka, 1965. 353 p.
5. Milka A. P. “Muzykalnoe prinoshenie” I. S. Bakha. K rekonstruktsii i interpretatsii [“The Musical Offering” by I. S. Bach. Concerning Reconstruction and Interpretation]. Moscow: Muzyka, 1999. 304 p.
6. Napreyev B. D. O richerkarnosti v fuge C dur “Khorosho temperirovannogo klavira” (tom I) I. S. Bakha [Concerning the Ricercar Qualities in the Fugue in C major from J. S. Bach’s Well-Tempered Clavier Book I]. Problemy muzykalnoj nauki [Music Scholarship]. 2016, No. 1 (22), pp. 13–19.
7. Petrash A. Zhanry poslerenessansnoy instrumentalnoy muzyki i stanovlenie sonaty i siuity [The Genres of Instrumental Music after the Renaissance and the Formation of Sonatas and Suites]. Voprosy teorii i estetiki muzyki [Questions of the Theory and Aesthetics of Music]. Issue 14. Leningrad: Muzyka, 1975, pp. 177–201.
8. Protopopov V. V. Ocherki po istorii instrumentalnykh form XVI – nachala XIX veka [Essays on the History of Instrumental Forms from the 16th to the beginning of the 19th Century]. Мoscow: Muzyka, 1979. 327 p.
9. Frayonov V. P. Fuga [Fugue]. Muzykal’naya entsiklopediya [Musical Encyclopedia]. Edited by Yu. V. Keldysh. Volume 5. Мoscow, 1981, col. 975–993.
10. Caldwell, John. Ricercare. The New Grove Dictonary of Music and Musicians. Volume Twenty-one. Second Edition. Volume 21, pp. 325–328.
11. Essi, Jùrgen. Der Augmentationskanon in BWV 769. Rekonstruktion eines möglichen Kompositionsprozesses [The Augmented Canon in BWV 769. Reconstruction of a Possible Compositional Process]. Bach-Jahbuchr [Bach’s Yearbook]. Hrsg. von Hans-Joachim Schulze und Christoph Wolff. Leipzig: Evangelische Verlagsanstalt, 2014. Jhrg.100. S. 27–43.
12. Ferraguto, Mark. Beethoven à la Moujik: Russianes and Learned Style in the “Rasumovsky” String Quartets. Journal of the American Musicological Society. Chicago: Univ. of Chicago Press, 2014. Volume 67, No. 1, pp. 77–123.
13. Kim, Minji. Significance Effect of the “Stile Antico“ in Hendel’s Oratorios. Early Music. London: Oxford Univ. Press, 2011. Volume 39, No. 4, pp. 563–573.
14. Melamed, Daniel R. Johann Sebastian Bach, Johann Gottfried Walther und die Music von Giovanni Pierluigi da Palestrina [Johann Sebastian Bach, Johann Gottfried Walther and the Music of Giovanni Pierluigi da Palestrina]. Bach-Jahbuchr [ Bach’s Yearbook]. Leipzig: Evangelische Veriagsanstalt, 2012. Jhrg. 98. S. 73–93.
15. Wilson, Glen. Bach,s “Art of Fugue”: Suggestions for the Last Gar. Early Music. London: Oxford Univ. Press, 2014. Volume 42, No. 2, pp. 249–257.