초록

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Music in the 20th-century, with the diminishing importance of tonality, placed its emphasis rather on linearity and horizontality than on harmony and verticality. In this paper I examined the contrapuntal texture in 20th-century atonal music by looking into atonal fugues: first, the historical con...

Music in the 20th-century, with the diminishing importance of tonality, placed its emphasis rather on linearity and horizontality than on harmony and verticality. In this paper I examined the contrapuntal texture in 20th-century atonal music by looking into atonal fugues: first, the historical concept of counterpoint and some characteristics of contrapuntal music, and a lack of common practice in 20th-century counterpoint; second, the historical concept of fugue versus modern atonal fugues without tonal relation, in respect of whether a definable character of fugue exists as distinct from "imitation" technique. Lastly, I classified atonal fugues in three different categories according to the extent of traditionality and experimental reinterpretation of fugue, with analyzing some examples in somewhat critical view.

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