Composition wherein a melody is taken over by successive interweavings of it

Usage examples of fugue.

I know that life is andante and presto and adagio, all entwined, a fugue of sorts, the promise and the sadness often separated by mere moments, tragedy and serenity not nearly so discrete as I once believed.

When they did start talking again de Bono began to parade his knowledge of the Fugue, more for the pleasure of belittling his fellow traveller than out of any genuine desire to inform.

And the cetic arts: hallning, zazen, meditation, fugue and the interface with the cybernetic spaces.

He, the troubled, nervous, modern man, wrote with fluency fugues and double fugues, chaconnes and passacaglie, concerti grossi and variations.

Just as Mister Chicago predicted, a handful of deadheads came out of their fugue with their minds severely impaired, their personalities little changed from the way they had been before they were taken off the drugs.

If anything, his playing grew more insistent, more convoluted, evolving into the didgeridoo equivalent of a fugue.

As in the development of a fugue, where, when the subject and counter subject have been enounced, there must henceforth be nothing new, and yet all must be new, so throughout organic life - which is as a fugue developed to great length from a very simple subject - everything is linked on to and grows out of that which comes next to it in order - errors and omissions excepted.

A second point: Whereas a Bach fugue cannot do without any one of its voices, we can easily imagine the Hanna Wendling short story or the essay on the disintegration of values as separate, freestanding texts whose deletion would cost the novel none of its meaning or intelligibility.

The difficulty of satisfying the constraints of variation within the bravura of overture or the rigor of fugue is considerable.

In the direction of the musically elaborative element we have the schools of the Netherlands and of Italy, in which absolutely everything of this kind was realized which modern art can show, saving perhaps the fugue, which involved questions of tonality belonging to a grade of taste and harmonic perception more advanced and refined than that as yet attained.

They use the words counterpoint, fugue, symphony, oratorio, polyphony, the mode of Beethoven, the orchestration of Mahler, but their essential point is that, like a musician, the novelist seized time and reconstructed it according to his own laws, which were very close to those of orchestral music.

He, the troubled, nervous, modern man, wrote with fluency fugues and double fugues, chaconnes and passacaglie, concerti grossi and variations.

He writes fugues for organs and sonatas for violin solo under the influence of Bach, concerti grossi under the influence of Haendel, variations under that of Mozart, sonatas under that of Brahms.

It is not that fugues and concerti in the olden style cannot be written to-day, that modern music and the antique forms are incompatible.

In the spring of 1883 he began to compose music, and in 1885 we published together an album of minuets, gavottes, and fugues.