Fugal and canonic techniques in selected large chorale preludes of 'Clavieruebung III'by J. S. Bach

Numerous scholars have studied the Clavierubung III, but their studies mainly focused on the relationship between the chorale text and Bach's response in music. Analysis without explaining J.S. Bach's word painting in other chorale preludes can be found easily, but most analyses treat rhetoric, especially those dealing with Clavierubung III. There have been numerous studies linking Bach's organ works to Lutheran doctrine. However, to give a better understanding of the work's structure and its implications for performance, a contrapuntal analysis is indispensable. This study deals with an analysis focused on canonic and fugal techniques in selected large chorales, and it will provide a better understanding of Clavierubung III.;For purposes of comparison with typical fugal techniques, the C minor fugue from the Well-Tempered Clavier I, BWV 847, is taken as a model. This work reveals typical eighteenth-century, late Baroque fugal structure with a well-defined subject. The episode modulates through the keys of Eb major-G minor and C minor. Below is an outline of the present paper.;Chapter I discusses the purpose of this study. Chapter II covers the earlier research on Clavierubung III and includes a discussion of the general background of the Clavierubung III. Chapter III provides a contrapuntal analysis of the three chorale preludes. A translation of the text will be included in each analysis. Chapter IV, the conclusion, will summarize and confirm the findings from the present study of the analysis.