I have discovered that, in an autograph manuscript likely used in his lessons, Bach used the words licentia and fundamental to rationalize a contrapuntal phenomenon known as anticipationes transitus in precisely the same manner as J. According to Bach, the Fundamental-Regeln (fundamental principles) of composition are derived from thoroughbass and the keyboard. (The file is too large for the Academia website.) The present work investigates the compositional pedagogy of J. 2: Examples, Appendices, and Bibliography. In both eras, the practice of interpretation coincided with and affected the reading of the genre's temporality. Whereas musicians of the early eighteenth century read counterpoint and the fugue allegorically and annulled time through the conceptual precision of the allegorical image, musicians of the late eighteenth and early nineteenth centuries read the fugue symbolically and worked time into their interpretive process. Composers sought to invest the fugue with a new dramatic and teleological thrust suitable to modern times, and critically minded musicians changed their interpretive method so as to emphasize the passage of time. The shift involved both a change in the technique of counterpoint and a change in the way counterpoint was interpreted. Despite the persistence of this critical topos, musicians shifted their approach to it around the beginning of the nineteenth century. Throughout the history of Western music, musicians have almost invariably discussed the keyboard fugue and other extreme forms of polyphony as signs of something that transcends human subjectivity.

Ludus tonalis hindemith f fugue