Additional comments and errata are always welcome. Write to me at: renwick@mcmaster.ca
Music Analysis 16 (1997), p. 255.
· p. 265: the print failed to include the staff lines in Ex. 3. It should be clear that the starting pitch in the treble is A and in the bass D. A corrected version will appear in the upcoming issue of Music Analysis (Volume 17).
Available from Canadian Computer Printing,
First printing: (these errors are corrected on later prints)
· p. 1, m. 12, second staff: second note should be g, not e.
· p. 10, m. 44: both e-flats should be f-flats.
· p. 11, m. 67: both b-flats should be c-flats.
· p. 11, m. 69: both b-flats should be c-flats.
· p. 11, m. 73: final chord in l.h. should have b-flat, not c.
· p. 12, m. 6: first note in upper part is tied from previous measure.
· p. 14, m.24: bass b-flats should be tied.
The Langloz
manuscript
On page 16 the beginning of the second system gives 5 as the first bar
of it. It should be 6.
In fugue 1 (page 35) the reference to a sequential progression starting
at bar 16 should refer to bar 18.
(with thanks to Professor Ewald
Demeyere, Bruxelles)
Pendragon Press, 1995.
Music and Letters
From Notes, Septermber, 1996.
· Analyzing Fugue explores the relationship between the polyphonic procedures and tonal structures of fugues. . . . Despite the title, Renwick's book offers a penetrating theory of fugue, with telling observations for theorists and composers alike. . . . His intelligent and easily comprehensible emphasis on tonal structures, without ignoring the role of the subjects, is an important comtribution to the understanding of fugue. -- Heather Platt, Ball State University
From Music Analysis, 1997.
· "Renwick's work in this area is far more comprehensive than that of earlier writers and the first to be carried out so thoroughly in terms of Schenkerian theory. . . . Analyzing Fugue is a thoughtful and deeply probing work that amply repays the effort of reading it. . . . Considering the vast bibliography on fugue, and on Das wholtemperirte Clavier in particular, it is remarkable that Renwick has found so many new and insightful things to say. His ideas, beyond focussing on the music in terms of structure, are offered as an attempt to come closer to the mind that produced it. The reader cannot but come away with deepened awe before Bach's astounding creative power. -- Charles Burkhart, CUNY
From Integral.
From Music Theory Spectrum, Spring 1998.
·
Example 3-6 b) should be
inverted to show the notes E-D-C above.
·
p 60 fn 52 should refer to BWV
998, the Prelude, Fugue and Allegro.
Theoria:
Historical Aspects of Music Theory, III (1988) (published in
1989): 73-85.