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Fugue
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For other uses, see Fugue (disambiguation).
The six-part fugue in the Ricercar a 6 from The Musical Offering, in the hand of Johann Sebastian Bach
In music, a fugue (/fjuːɡ/ fewg) is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development, and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation.[1]
In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works.[2] Since the 17th century,[3] the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.[4]
Most fugues open with a short main theme, the subject,[5] which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the "final entry" of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda.[6][7] In this sense, a fugue is a style of composition, rather than a fixed structure.
The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias.[8] The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others.[8] With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position.[9] Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791)[9] and Ludwig van Beethoven (1770–1827),[9] as well as modern composers such as Dmitri Shostakovich (1906–1975).[10]
Contents
[hide]
1 Etymology
2 Musical outline
2.1 Exposition
2.2 Episode
2.3 Development
2.4 Example and analysis
2.5 False entries
2.6 Counter-exposition
2.7 Stretto
2.8 Final entries and coda
3 Types
3.1 Simple fugue
3.2 Double (triple, quadruple) fugue
3.3 Counter-fugue
3.4 Permutation fugue
3.5 Fughetta
4 History
4.1 Middle Ages and Renaissance
4.2 Baroque era
4.3 Classical era
4.3.1 Haydn
4.3.2 Mozart
4.3.3 Beethoven
4.4 Romantic era
4.5 20th century
4.6 Outside classical music
5 Discussion
5.1 Musical form or texture
5.2 Perceptions and aesthetics
6 References
7 Sources
8 Further reading
9 External links
Etymology[edit]
The English term fugue originated in the 16th century and is derived from the French word fugue or the Italian fuga. This in turn comes from Latin, also fuga, which is itself related to both fugere ("to flee") and fugare ("to chase").[11] The adjectival form is fugal.[12] Variants include fughetta (literally, "a small fugue") and fugato (a passage in fugal style within another work that is not a fugue).[6]
Musical outline[edit]
A fugue begins with the exposition and is written according to certain predefined rules; in later portions the composer has more freedom, though a logical key structure is usually followed. Further entries of the subject will occur throughout the fugue, repeating the accompanying material at the same time.[13] The various entries may or may not be separated by episodes.
What follows is a chart displaying a fairly typical fugal outline, and an explanation of the processes involved in creating this structure.
Example of key and entry structure in a three-voice Baroque fugue
Exposition
First mid-entry
Second
mid-entry
Final entries in tonic
Tonic
Dom.
T
(D-redundant entry)
Relative maj/min
Dom. of rel.
Subdom.
T
T
Soprano
S CS1 C
o
d
e
t
t
a CS2 A E
p
i
s
o
d
e CS1 CS2 E
p
i
s
o
d
e S E
p
i
s
o
d
e CS1 Free
counterpoint C
o
d
a
Alto
A CS1 CS2 S CS1 CS2 S CS1
Bass
S CS1 CS2 A CS1 CS2 S
S = subject; A = answer; CS = countersubject; T = tonic; D = dominant
Exposition[edit]
Further information: Exposition (music)
A fugue begins with the exposition of its subject in one of the voices alone in the tonic key.[14] After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (usually the dominant or subdominant), which is known as the answer.[15][16] To make the music run smoothly, it may also have to be altered slightly. When the answer is an exact copy of the subject to the new key, with identical intervals to the first statement, it is classified as a real answer; if the intervals are altered to maintain the key it is a tonal answer.[14]
Example of a tonal answer in J.S. Bach's Fugue No. 16 in G Minor, BWV 861, from the Well-Tempered Clavier, Book 1. ( Listen )
The first note of the subject, D (in red), is a prominent dominant note, demanding that the first note of the answer (in blue) sound as the tonic, G.
A tonal answer is usually called for when the subject begins with a prominent dominant note, or where there is a prominent dominant note very close to the beginning of the subject.[14] To prevent an undermining of the music's sense of key, this note is transposed up a fourth to the tonic rather than up a fifth to the supertonic. Answers in the subdominant are also employed for the same reason.[17]
While the answer is being stated, the voice in which the subject was previously heard continues with new material. If this new material is reused in later statements of the subject, it is called a countersubject; if this accompanying material is only heard once, it is simply referred to as free counterpoint.
The interval of a fifth inverts to a fourth (dissonant) and therefore cannot be employed in invertible counterpoint, without preparation and resolution.
The countersubject is written in invertible counterpoint at the octave or fifteenth.[18] The distinction is made between the use of free counterpoint and regular countersubjects accompanying the fugue subject/answer, because in order for a countersubject to be heard accompanying the subject in more than one instance, it must be capable of sounding correctly above or below the subject, and must be conceived, therefore, in invertible (double) counterpoint.[14][19]
In tonal music, invertible contrapuntal lines must be written according to certain rules because several intervallic combinations, while acceptable in one particular orientation, are no longer permissible when inverted. For example, when the note "G" sounds in one voice above the note "C" in lower voice, the interval of a fifth is formed, which is considered consonant and entirely acceptable. When this interval is inverted ("C" in the upper voice above "G" in the lower), it forms a fourth, considered a dissonance in tonal contrapuntal practice, and requires special treatment, or preparation and resolution, if it is to be used.[20] The countersubject, if sounding at the same time as the answer, is transposed to the pitch of the answer.[21] Each voice then responds with its own subject or answer, and further countersubjects or free counterpoint may be heard.
When a tonal answer is used, it is customary for the exposition to alternate subjects (S) with answers (A), however, in some fugues this order is occasionally varied: e.g., see the SAAS arrangement of Fugue No. 1 in C Major, BWV 846, from J.S. Bach's Well-Tempered Clavier, Book 1. A brief codetta is often heard connecting the various statements of the subject and answer. This allows the music to run smoothly. The codetta, just as the other parts of the exposition, can be used throughout the rest of the fugue.[22]
The first answer must occur as soon after the initial statement of the subject as possible; therefore the first codetta is often extremely short, or not needed. In the above example, this is the case: the subject finishes on the quarter note (or crotchet) B♭ of the third beat of the second bar which harmonizes the opening G of the answer. The later codettas may be considerably longer, and often serve to (a) develop the material heard so far in the subject/answer and countersubject and possibly introduce ideas heard in the second countersubject or free counterpoint that follows (b) delay, and therefore heighten the impact of the reentry of the subject in another voice as well as modulating back to the tonic.[23]
The exposition usually concludes when all voices have given a statement of the subject or answer. In some fugues, the exposition will end with a redundant entry, or an extra presentation of the theme.[14] Furthermore, in some fugues the entry of one of the voices may be reserved until later, for example in the pedals of an organ fugue (see J.S. Bach's Fugue in C major for Organ, BWV 547).
Episode[edit]
Further information: Section (music)
Further entries of the subject follow this initial exposition, either immediately (as for example in Fugue No. 1 in C major, BWV 846 of the Well-Tempered Clavier) or separated by episodes.[14] Episodic material is always modulatory and is usually based upon some element heard in the exposition.[7][14] Each episode has the primary function of transitioning for the next entry of the subject in a new key,[14] and may also provide release from the strictness of form employed in the exposition, and middle-entries.[24] André Gedalge states that the episode of the fugue is generally based on a series of imitations of the subject that have been fragmented.[25]
Development[edit]
Further information: Musical development
Further entries of the subject, or middle entries, occur throughout the fugue. They must state the subject or answer at least once in its entirety, and may also be heard in combination with the countersubject(s) from the exposition, new countersubjects, free counterpoint, or any of these in combination. It is uncommon for the subject to enter alone in a single voice in the middle-entries as in the exposition; rather, it is usually heard with at least one of the countersubjects and/or other free contrapuntal accompaniments.
Middle-entries tend to occur at pitches other than the initial. As shown in the typical structure above, these are often closely-related keys such as the relative dominant and subdominant, although the key structure of fugues varies greatly. In the fugues of J.S. Bach, the first middle-entry occurs most often in the relative major or minor of the work's overall key, and is followed by an entry in the dominant of the relative major or minor when the fugue's subject requires a tonal answer. In the fugues of earlier composers (notably, Buxtehude and Pachelbel), middle entries in keys other than the tonic and dominant tend to be the exception, and non-modulation the norm. One of the famous examples of such non-modulating fugue occurs in Buxtehude's Praeludium (Fugue and Chaconne) in C, BuxWV 137.
When there is no entrance of the subject and answer material, the composer can develop the subject by altering the subject. This is called an episode,[26] often by inversion, although the term is sometimes used synonymously with middle-entry and may also describe the exposition of completely new subjects, as in a double fugue for example (see below). In any of the entries within a fugue, the subject may be altered, by inversion, retrograde (a less common form where the entire subject is heard back-to-front) and diminution (the reduction of the subject's rhythmic values by a certain factor), augmentation (the increase of the subject's rhythmic values by a certain factor) or any combination of them.[14]
Example and analysis[edit]
The excerpt below, bars 7–12 of J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1 illustrates the application of most of the characteristics described above. The fugue is for keyboard and in three voices, with regular countersubjects.[7][27] This excerpt opens at last entry of the exposition: the subject is sounding in the bass, the first countersubject in the treble, while the middle-voice is stating a second version of the second countersubject, which concludes with the characteristic rhythm of the subject, and is always used together with the first version of the second countersubject. Following this an episode modulates from the tonic to the relative major by means of sequence, in the form of an accompanied canon at the fourth.[24] Arrival in E♭ major is marked by a quasi perfect cadence across the bar line, from the last quarter note beat of the first bar to the first beat of the second bar in the second system, and the first middle entry. Here, Bach has altered the second countersubject to accommodate the change of mode.[28]
Visual Analysis of J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1 (bars 7–12)( Listen )
False entries[edit]
At any point in the fugue there may be "false entries" of the subject, which include the start of the subject but are not completed. False entries are often abbreviated to the head of the subject, and anticipate the "true" entry of the subject, heightening the impact of the subject proper.[17]
Example of a false answer in J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1. This passage is bars 6/7, at the end of the codetta before the first entry of the third voice, the bass, in the exposition. The false entry occurs in the alto, and consists of the head of the subject only, marked in red. It anticipates the true entry of the subject, marked in blue, by one quarter-note.
Counter-exposition[edit]
The counter-exposition is a second exposition. However, there are only two entries, and the entries occur in reverse order.[29] The counter-exposition in a fugue is separated from the exposition by an episode and is in the same key as the original exposition.[29]
Stretto[edit]
Sometimes counter-expositions or the middle entries take place in stretto, whereby one voice responds with the subject/answer before the first voice has completed its entry of the subject/answer, usually increasing the intensity of the music.[30]
Example of stretto fugue in a quotation from Fugue in C major by Johann Caspar Ferdinand Fischer who died in 1746. The subject, including an eighth note rest, is seen in the alto voice, starting on beat 1 bar 1 and ending on beat 1 bar 3, which is where the answer would usually be expected to begin. As this is a stretto, the answer already takes place in the tenor voice, on the third quarter note of the first bar, therefore coming in "early". listen (help·info)
Only one entry of the subject must be heard in its completion in a stretto. However, a stretto in which the subject/answer is heard in completion in all voices is known as stretto maestrale or grand stretto.[31] Strettos may also occur by inversion, augmentation and diminution. A fugue in which the opening exposition takes place in stretto form is known as a close fugue or stretto fugue (see for example, the Gratias agimus tibi and Dona nobis pacem choruses from J.S. Bach's Mass in B Minor).[32]
Final entries and coda[edit]
The closing section of a fugue often includes one or two counter-expositions, and possibly a stretto, in the tonic; sometimes over a tonic or dominant pedal note. Any material that follows the final entry of the subject is considered to be the final coda and is normally cadential.[7]
Types[edit]
Simple fugue[edit]
A simple fugue has only one subject, and does not utilize invertible counterpoint.[33]
Double (triple, quadruple) fugue[edit]
A double fugue has two subjects that are often developed simultaneously. Similarly, a triple fugue has three subjects.[34][35] There are two kinds of double fugue: (a) a fugue in which the second subject is presented simultaneously with the subject in the exposition (e.g. as in Kyrie Eleison of Mozart's Requiem in D minor), and (b) a fugue in which the second subject has its own exposition at some later point, and the two subjects are not combined until later (see for example, Fugue No. 14 in F♯ minor from Bach's Well-Tempered Clavier Book 2, or more famously, Bach's "St. Anne" Fugue in E♭ major, BWV 552, a triple fugue for organ.)[34][36]
Counter-fugue[edit]
A counter-fugue is a fugue in which the first answer is presented as the subject in inversion (upside down), and the inverted subject continues to feature prominently throughout the fugue.[37] Examples include Contrapunctus V through Contrapunctus VII, from Bach's The Art of Fugue.[38]
Permutation fugue[edit]
Permutation fugue describes a type of composition (or technique of composition) in which elements of fugue and strict canon are combined.[39] Each voice enters in succession with the subject, each entry alternating between tonic and dominant, and each voice, having stated the initial subject, continues by stating two or more themes (or countersubjects), which must be conceived in correct invertible counterpoint. (In other words, the subject and countersubjects must be capable of being played both above and below all the other themes without creating any unacceptable dissonances.) Each voice takes this pattern and states all the subjects/themes in the same order (and repeats the material when all the themes have been stated, sometimes after a rest).
There is usually very little non-structural/thematic material. During the course of a permutation fugue, it is quite uncommon, actually, for every single possible voice-combination (or "permutation") of the themes to be heard. This limitation exists in consequence of sheer proportionality: the more voices in a fugue, the greater the amount of possible permutations. In consequence, composers exercise editorial judgment as to the most musical of permutations and processes leading thereto. One example of permutation fugue can be seen in the opening chorus of J.S. Bach's cantata, Himmelskönig, sei willkommen, BWV182.
Permutation fugues differ from conventional fugue in that there are no connecting episodes, nor statement of the themes in related keys.[39] So for example, the fugue of Bach's Passacaglia and Fugue in C minor, BWV 582 is not purely a permutation fugue, as it does have episodes between permutation expositions. Invertible counterpoint is essential to permutation fugues but is not found in simple fugues.[40]
Fughetta[edit]
A fughetta is a short fugue that has the same characteristics as a fugue. Often the contrapuntal writing is not strict, and the setting less formal. See for example, variation 24 of Beethoven's Diabelli Variations Op. 120.
History[edit]
Middle Ages and Renaissance[edit]
The term fuga was used as far back as the Middle Ages, but was initially used to refer to any kind of imitative counterpoint, including canons, which are now thought of as distinct from fugues.[41] Prior to the 16th century, fugue was originally a genre.[42] It was not until the 16th century that fugal technique as it is understood today began to be seen in pieces, both instrumental and vocal. Fugal writing is found in works such as fantasias, ricercares and canzonas.
"Fugue" as a theoretical term first occurred in 1330 when Jacobus of Liege wrote about the fuga in his Speculum musicae.[43] The fugue arose from the technique of "imitation", where the same musical material was repeated starting on a different note.
Gioseffo Zarlino, a composer, author, and theorist in the Renaissance, was one of the first to distinguish between the two types of imitative counterpoint: fugues and canons (which he called imitations).[42] Originally, this was to aid improvisation, but by the 1550s, it was considered a technique of composition. The Renaissance composer Giovanni Pierluigi da Palestrina (1525?–1594) wrote masses using modal counterpoint and imitation, and fugal writing became the basis for writing motets as well.[44] Palestrina's imitative motets differed from fugues in that each phrase of the text had a different subject which was introduced and worked out separately, whereas a fugue continued working with the same subject or subjects throughout the entire length of the piece.
Baroque era[edit]
It was in the Baroque period that the writing of fugues became central to composition, in part as a demonstration of compositional expertise. Fugues were incorporated into a variety of musical forms. Jan Pieterszoon Sweelinck, Girolamo Frescobaldi, Johann Jakob Froberger and Dieterich Buxtehude all wrote fugues,[45] and George Frideric Handel included them in many of his oratorios. Keyboard suites from this time often conclude with a fugal gigue. Domenico Scarlatti has only a few fugues among his corpus of over 500 harpsichord sonatas. The French overture featured a quick fugal section after a slow introduction. The second movement of a sonata da chiesa, as written by Arcangelo Corelli and others, was usually fugal.
The Baroque period also saw a rise in the importance of music theory. Some fugues during the Baroque period were pieces designed to teach contrapuntal technique to students.[46] The most influential text was Johann Joseph Fux's Gradus Ad Parnassum ("Steps to Parnassus"), which appeared in 1725.[47] This work laid out the terms of "species" of counterpoint, and offered a series of exercises to learn fugue writing.[48] Fux's work was largely based on the practice of Palestrina's modal fugues.[49] Mozart studied from this book, and it remained influential into the nineteenth century. Haydn, for example, taught counterpoint from his own summary of Fux and thought of it as the basis for formal structure.
Bach's most famous fugues are those for the harpsichord in The Well-Tempered Clavier, which many composers and theorists look at as the greatest model of fugue.[50] The Well-Tempered Clavier comprises two volumes written in different times of Bach's life, each comprising 24 prelude and fugue pairs, one for each major and minor key. Bach is also known for his organ fugues, which are usually preceded by a prelude or toccata. The Art of Fugue, BWV 1080, is a collection of fugues (and four canons) on a single theme that is gradually transformed as the cycle progresses. Bach also wrote smaller single fugues and put fugal sections or movements into many of his more general works. J.S. Bach's influence extended forward through his son C.P.E. Bach and through the theorist Friedrich Wilhelm Marpurg (1718–1795) whose Abhandlung von der Fuge ("Treatise on the fugue", 1753) was largely based on J.S. Bach's work.
Classical era[edit]
During the Classical era, the fugue was no longer a central or even fully natural mode of musical composition.[51] Nevertheless, both Haydn and Mozart had periods of their careers in which they in some sense "rediscovered" fugal writing and used it frequently in their work.
Haydn[edit]
Joseph Haydn was the leader of fugal composition and technique in the Classical era.[4] Haydn's most famous fugues can be found in his "Sun" Quartets (op. 20, 1772), of which three have fugal finales. This was a practice that Haydn repeated only once later in his quartet-writing career, with the finale of his String Quartet, Op. 50 No. 4 (1787). Some of the earliest examples of Haydn's use of counterpoint, however, are in three symphonies (No. 3, No. 13, and No. 40) that date from 1762–63. The earliest fugues, in both the symphonies and in the Baryton trios, exhibit the influence of Joseph Fux's treatise on counterpoint, Gradus ad Parnassum (1725), which Haydn studied carefully.
Haydn's second fugal period occurred after he heard, and was greatly inspired by, the oratorios of Handel during his visits to London (1791–1793, 1794–1795). Haydn then studied Handel's techniques and incorporated Handelian fugal writing into the choruses of his mature oratorios The Creation and The Seasons, as well as several of his later symphonies, including No. 88, No. 95, and No. 101.
Mozart[edit]
Wolfgang Amadeus Mozart studied counterpoint when young with Padre Martini in Bologna. However, the major impetus to fugal writing for Mozart was the influence of Baron Gottfried van Swieten in Vienna around 1782. Van Swieten, during diplomatic service in Berlin, had taken the opportunity to collect as many manuscripts by Bach and Handel as he could, and he invited Mozart to study his collection and also encouraged him to transcribe various works for other combinations of instruments. Mozart was evidently fascinated by these works, and wrote a set of transcriptions for string trio of fugues from Bach's Well-Tempered Clavier, introducing them with preludes of his own.
In a letter to his sister, dated in Vienna on April 20, 1782, Mozart recognizes that he had not written anything in this form, but moved by the interest of Constance he composed one piece, which is sent with the letter. He begs her sister does not let anybody to see the fugue and manifests the hope to write five more and then present them to Baron van Swieten. Regarding the piece, he said "I have taken particular care to write andante maestoso upon it, so that it should not be played fast – for if a fugue is not played slowly the ear cannot clearly distinguish the new subject as it is introduced and the effect is missed".[52] Mozart then set to writing fugues on his own, mimicking the Baroque style. These included the fugues for String Quartet, K. 405 (1782) and a Fugue in C Minor K. 426 for two pianos (1783). Later, Mozart incorporated fugal writing into his opera Die Zauberflöte and the finale of his Symphony No. 41.
Fugal passage from the finale of Mozart's Symphony No. 41 (Jupiter).
The parts of the Requiem he completed also contain several fugues (most notably the Kyrie, and the three fugues in the Domine Jesu;[53] he also left behind a sketch for an Amen fugue which, some believe[who?], would have come at the end of the Sequentia).
Beethoven[edit]
Ludwig van Beethoven was familiar with fugal writing from childhood, as an important part of his training was playing from The Well-Tempered Clavier. During his early career in Vienna, Beethoven attracted notice for his performance of these fugues. There are fugal sections in Beethoven's early piano sonatas, and fugal writing is to be found in the second and fourth movements of the Eroica Symphony (1805). Beethoven incorporated fugues in his sonatas, and reshaped the episode's purpose and compositional technique for later generations of composers.[54]
Nevertheless, fugues did not take on a truly central role in Beethoven's work until his late period. The finale of Beethoven's Hammerklavier Sonata contains a fugue, which was practically unperformed until the late 19th century, due to its tremendous technical difficulty and length. The last movement of his Cello Sonata, Op. 102 No. 2 is a fugue, and there are fugal passages in the last movements of his Piano Sonatas in A major, Op. 101 and A♭ major Op. 110. According to Charles Rosen (1971, p. 503) "With the finale of 110, Beethoven re-conceived the significance of the most traditional elements of fugue writing."[55]
Fugal passages are also found in the Missa Solemnis and all movements of the Ninth Symphony, except the third . A massive, dissonant fugue forms the finale of his String Quartet, Op. 130 (1825); the latter was later published separately as Op. 133, the Große Fuge ("Great Fugue"). However, it is the fugue that opens Beethoven's String Quartet in C♯ minor, Op. 131 that several commentators regard as one of the composer's greatest achievements. Joseph Kerman (1966, p. 330) calls it "this most moving of all fugues".[56] J.W.N. Sullivan (1927, p. 235) hears it as "the most superhuman piece of music that Beethoven has ever written."[57] Philip Radcliffe (1965, p. 149) says "[a] bare description of its formal outline can give but little idea of the extraordinary profundity of this fugue ."[58]
Beethoven, Quartet in C♯ minor, Op. 131, opening fugal exposition. Listen
Romantic era[edit]
By the beginning of the Romantic era, fugue writing had become specifically attached to the norms and styles of the Baroque. Felix Mendelssohn wrote many fugues inspired by his study of the music of J.S. Bach. Franz Liszt's Piano Sonata in B minor (1853) contains a powerful fugue, demanding incisive virtuosity from its player:
Liszt Piano Sonata Fugue subject. Link to passage
Giuseppe Verdi included a whimsical example at the end of his opera Falstaff and his setting of the Requiem Mass contained two (originally three) choral fugues.[citation needed] Anton Bruckner and Gustav Mahler also included them in their respective symphonies. The finale of Mahler's Symphony No. 5 features a "fugue-like"[59] passage early in the movement, though this is not actually an example of a fugue.
20th century[edit]
Twentieth-century composers brought fugue back to its position of prominence, realizing its uses in full instrumental works, its importance in development and introductory sections, and the developmental capabilities of fugal composition.[51]
The second movement of Maurice Ravel's piano suite Le Tombeau de Couperin (1917) is a fugue that Roy Howat (200, p. 88) describes as having "a subtle glint of jazz".[60] Béla Bartók's Music for Strings, Percussion and Celesta (1936) opens with a slow fugue that Pierre Boulez (1986, pp. 346–47) regards as "certainly the finest and most characteristic example of Bartók's subtle style... probably the most timeless of all Bartók's works – a fugue that unfolds like a fan to a point of maximum intensity and then closes, returning to the mysterious atmosphere of the opening."[61]
Igor Stravinsky also incorporated fugues into his works, including the Symphony of Psalms and the Dumbarton Oaks concerto. Stravinsky recognized the compositional techniques of Bach, and in the second movement of his Symphony of Psalms (1930), he lays out a fugue that is much like that of the Baroque era.[62] It employs a double fugue with two distinct subjects, the first beginning in C and the second in E♭. Techniques such as stretto, sequencing, and the use of subject incipits are frequently heard in the movement.
Olivier Messiaen, writing about his Vingt regards sur l'enfant-Jésus (1944) wrote of the sixth piece of that collection, "Par Lui tout a été fait" ("By Him were all things made"):
It expresses the Creation of All Things: space, time, stars, planets – and the Countenance (or rather, the Thought) of God behind the flames and the seething – impossible even to speak of it, I have not attempted to describe it ... Instead, I have sheltered behind the form of the Fugue. Bach's Art of Fugue and the fugue from Beethoven's Opus 106 (the Hammerklavier sonata) have nothing to do with the academic fugue. Like those great models, this one is an anti-scholastic fugue.[63]
György Ligeti wrote a five-part double fugue[clarification needed] for his Requiem's second movement, the Kyrie, in which each part (SMATB) is subdivided in four-voice "bundles" that make a canon.[not in citation given] The melodic material in this fugue is totally chromatic, with melismatic (running) parts overlaid onto skipping intervals, and use of polyrhythm (multiple simultaneous subdivisions of the measure), blurring everything both harmonically and rhythmically so as to create an aural aggregate, thus highlighting the theoretical/aesthetic question of the next section as to whether fugue is a form or a texture.[64] According to Tom Service, in this work, Ligeti
takes the logic of the fugal idea and creates something that’s meticulously built on precise contrapuntal principles of imitation and fugality, but he expands them into a different region of musical experience. Ligeti doesn’t want us to hear individual entries of the subject or any subject, or to allow us access to the labyrinth through listening in to individual lines… He creates instead a vastly dense texture of voices in his choir and orchestra, a huge stratified slab of terrifying visionary power. Yet this is music that’s made with a fine craft and detail of a Swiss clock maker. Ligeti’s so-called 'micro-polyphony': the many voicedness of small intervals at small distances in time from one another is a kind of conjuring trick. At the micro level of the individual lines, and there are dozens and dozens of them in this music...there’s an astonishing detail and finesse, but the overall macro effect is a huge overwhelming and singular experience.[65]
Benjamin Britten used a fugue in the final part of The Young Person's Guide to the Orchestra (1946). The Henry Purcell's theme is triumphantly cited at the end making it a choral fugue.[66]
Canadian pianist and musical thinker Glenn Gould composed So You Want to Write a Fugue?, a full-scale fugue set to a text that cleverly explicates its own musical form.[67]
Outside classical music[edit]
Fugues (or fughettas/fugatos) have been incorporated into genres outside Western classical music. Several examples exist within jazz, such as Bach goes to Town, composed by the Welsh composer Alec Templeton and recorded by Benny Goodman in 1938, and Concorde composed by John Lewis and recorded by the Modern Jazz Quartet in 1955.
A few examples also exist within progressive rock, such as the central movement of "The Endless Enigma" by Emerson, Lake & Palmer and "On Reflection" by Gentle Giant.
Discussion[edit]
Musical form or texture[edit]
A widespread view of the fugue is that it is not a musical form but rather a technique of composition.[68]
The Austrian musicologist Erwin Ratz argues that the formal organization of a fugue involves not only the arrangement of its theme and episodes, but also its harmonic structure.[69] In particular, the exposition and coda tend to emphasize the tonic key, whereas the episodes usually explore more distant tonalities. Ratz stressed, however, that this is the core, underlying form ("Urform") of the fugue, from which individual fugues may deviate.
Thus it is to be noted that while certain related keys are more commonly explored in fugal development, the overall structure of a fugue does not limit its harmonic structure. For example, a fugue may not even explore the dominant, one of the most closely related keys to the tonic. Bach's Fugue in B♭ major from book one of the Well Tempered Clavier explores the relative minor, the supertonic and the subdominant. This is unlike later forms such as the sonata, which clearly prescribes which keys are explored (typically the tonic and dominant in an ABA form). Then, many modern fugues dispense with traditional tonal harmonic scaffolding altogether, and either use serial (pitch-oriented) rules, or (as the Kyrie/Christe in György Ligeti's Requiem, Witold Lutosławski works), use panchromatic, or even denser, harmonic spectra.
Perceptions and aesthetics[edit]
Fugue is the most complex of contrapuntal forms. In Ratz's words, "fugal technique significantly burdens the shaping of musical ideas, and it was given only to the greatest geniuses, such as Bach and Beethoven, to breathe life into such an unwieldy form and make it the bearer of the highest thoughts."[70] In presenting Bach's fugues as among the greatest of contrapuntal works, Peter Kivy points out that "counterpoint itself, since time out of mind, has been associated in the thinking of musicians with the profound and the serious"[71] and argues that "there seems to be some rational justification for their doing so."[72]
This is related to the idea that restrictions create freedom for the composer, by directing their efforts. He also points out that fugal writing has its roots in improvisation, and was, during the Renaissance, practiced as an improvisatory art. Writing in 1555, Nicola Vicentino, for example, suggests that:
the composer, having completed the initial imitative entrances, take the passage which has served as accompaniment to the theme and make it the basis for new imitative treatment, so that "he will always have material with which to compose without having to stop and reflect". This formulation of the basic rule for fugal improvisation anticipates later sixteenth-century discussions which deal with the improvisational technique at the keyboard more extensively.[73]
References[edit]
Jump up ^ Benward, Bruce (1985). Music in Theory and Practice. 2 (3rd ed.). Dubuque: Wm. C. Brown Publishers. p. 45. ISBN 0-697-03633-2.
Jump up ^ "Fugue [Fr. fugue; Ger. Fuge; Lat., It., Sp., fuga]." The Harvard Dictionary of Music (Cambridge: Harvard University Press, 2003), "credo Reference". Retrieved 2008-05-06.
Jump up ^ Paul Walker. "Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required) for discussion of the changing use of the term throughout Western music history.
^ Jump up to: a b Ratner 1980, p. 263
Jump up ^ Gedalge 1964, p. 7
^ Jump up to: a b "Fugue", The Concise Oxford Dictionary of Music, fourth edition, ed. Michael Kennedy (Oxford and New York: Oxford University Press, 1996). ISBN 0-19-280037-X "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
^ Jump up to: a b c d Paul Walker. "Fugue, §1: A classic fugue analysed". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
^ Jump up to: a b Paul Walker. "Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
^ Jump up to: a b c Paul Walker. "Fugue, §6: Late 18th century". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Paul Walker. "Fugue, §8: 20th century". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ "Fugue, n." The Concise Oxford English Dictionary, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ "Fugal, adj." The Concise Oxford English Dictionary, eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ Gedalge 1964, p. 70
^ Jump up to: a b c d e f g h i G. M. Tucker and Andrew V. Jones, "Fugue", in The Oxford Companion to Music, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002). ISBN 0-19-866212-2 "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ Gedalge 1964, p. 12
Jump up ^ Morris, R. O. (1958). Contrapuntal Technique in the Sixteenth Century. London: Oxford University Press. p. 47.
^ Jump up to: a b Verrall 1966, p. 12
Jump up ^ Gedalge 1964, p. 59
Jump up ^ "Invertible Counterpoint" The Oxford Companion to Music, ed. Alison Latham (Oxford and New York: Oxford University Press, 2002) "Oxford Reference Online, subscription access". Retrieved 2007-03-16.
Jump up ^ Drabkin, William. "Invertible Counterpoint". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Gedalge 1964, p. 61
Jump up ^ Gedalge 1964, pp. 71–72
Jump up ^ Paul Walker, "Fugue, §1: A Classic Fugue Analysed" "Grove Music Online". Retrieved 2007-02-18.
^ Jump up to: a b Verrall 1966, p. 33
Jump up ^ Gedalge 1964
Jump up ^ Paul Walker. "Counter-exposition". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Bach, Johann Sebastian (1997). "Fuge Nr. 2". In Heinemann, Ernst-Günter. Das Wohltemperierte Klavier I. Munich: G. Henle Verlag.
Jump up ^ Dreyfus, Laurence (1996). "Figments of the Organicist Imagination". Bach and the Patterns of Invention. Cambridge, Mass., and London: Harvard University Press. p. 178.
^ Jump up to: a b Gedalge 1964, p. 108
Jump up ^ Paul Walker. "Stretto (i)". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Verrall 1966, p. 77
Jump up ^ Paul Walker. "Stretto (i)". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Paul Walker. "Fugue, §5: The golden age". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
^ Jump up to: a b Paul Walker. "Double Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ "double fugue" The Oxford Companion to Music, Ed. Alison Latham, Oxford University Press, 2002, "Oxford Reference Online, subscription access". Retrieved 2007-03-29.
Jump up ^ "Double Fugue", The Concise Oxford Dictionary of Music, fourth edition, ed. Michael Kennedy (Oxford and New York: Oxford University Press, 1996) "Oxford Reference Online, subscription access". Retrieved 2007-03-29.
Jump up ^ Paul Walker. "Counter-fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Bach, Johann Sebastian (1992). Dörffel, Alfred, ed. The Art of Fugue & A Musical Offering. Courier Dover. p. 56. ISBN 978-0-486-27006-7.
^ Jump up to: a b Paul Walker. "Permutation Fugue". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
Jump up ^ Walker 1992, p. 56
Jump up ^ Walker 2000, p. 7
^ Jump up to: a b Walker 2000, pp. 9–10
Jump up ^ Mann 1960, p. 9
Jump up ^ Perkins, Leeman L. (1999). Music in the Age of the Renaissance. New York: W. W. Norton & Company. pp. 880–81.
Jump up ^ Walker 2000, p. 165
Jump up ^ Schulenberg, David (2001). Music of the Baroque. New York: Oxford University Press. p. 243.
Jump up ^ Walker 2000, p. 316
Jump up ^ Walker 2000, p. 317
Jump up ^ Mann 1960, p. 53
Jump up ^ Walker 2000, p. 2
^ Jump up to: a b Graves 1962, p. 64
Jump up ^ Letters of Mozart. New york: Dorset Press. 1986. p. 195.
Jump up ^ Ratner 1980, p. 266
Jump up ^ Graves 1962, p. 65
Jump up ^ Rosen, C. (1971) The Classical Style. London, Faber.
Jump up ^ Kerman, J. (1966), The Beethoven Quartets. Oxford University Press
Jump up ^ Sullivan, J.W.N. (1927) Beethoven. London, Jonathan Cape
Jump up ^ Radcliffe, P. (1965) Beethoven's String Quartets. London, Hutchinson.
Jump up ^ Floros, C. (1997, p. 135) Gustav Mahler: The Symphonies, trans. Wicker. Amadeus Press.
Jump up ^ Howat, R. (2000) "Ravel and the Piano" in Mawer, D. (ed.) The Cambridge Companion to Ravel. Cambridge University Press.
Jump up ^ Boulez, P. (1986) Orientations. London, Faber.
Jump up ^ Graves 1962, p. 67
Jump up ^ Notes to Vingt Regards sur l'Enfant Jésus. Translator not indicated. Erato Disques S.A. 4509-91705-2, 1993. Compact Disc.
Jump up ^ Eric Drott, "Lines, Masses, Micropolyphony: Ligeti's Kyrie and the 'Crisis of the Figure'". Perspectives of New Music 49, no. 1 (Winter 2011): 4–46. Citation on 10.
Jump up ^ Service, T. (2017)“Chasing a Fugue”, Radio Broadcast on 26 November http://www.bbc.co.uk/programmes/b07jhvgp accessed 28 November 2017.
Jump up ^ https://goodmorningbritten.wordpress.com/2013/10/18/listening-to-britten-the-young-persons-guide-to-the-orchestra-op-34/
Jump up ^ Bazzana, Kevin (2004). Wondrous Strange: The Life and Art of Glenn Gould. New York: Oxford University Press. ISBN 0-19-517440-2. OCLC 54687539.
Jump up ^ Tovey, Donald Francis (1962). Essays in Music Analysis Volume I: Symphonies. London: Oxford University Press. p. 17.
Jump up ^ Ratz 1951, Chapter 3
Jump up ^ Ratz 1951, p. 259
Jump up ^ Kivy 1990, p. 206
Jump up ^ Kivy 1990, p. 210
Jump up ^ Mann 1965, p. 16
Sources[edit]
Gedalge, André (1964) [1901]. Traité de la fugue [Treatise on Fugue]. trans. A. Levin. Mattapan: Gamut Music Company. OCLC 917101.
Graves, William L., Jr. (1962). Twentieth Century Fugue. Washington, D.C.: The Catholic University of America Press. OCLC 480340.
Kivy, Peter (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Ithaca: Cornell University Press. ISBN 0-8014-2331-7.
Mann, Alfred (1960). The Study of Fugue. London: Oxford University Press.
Mann, Alfred (1965). The Study of Fugue. New York: W. W. Norton & Company.
Ratner, Leonard G. (1980). Classic Music: Expression, Form, and Style. London: Collier Macmillan Publishers. ISBN 9780028720203. OCLC 6648908.
Ratz, Erwin (1951). Einführung in die Musikalische Formenlehre: Über Formprinzipien in den Inventionen J. S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens [Introduction to Musical Form: On the Principles of Form in J. S. Bach's Inventions and their Import for Beethoven's Compositional Technique] (first edition with supplementary volume ed.). Vienna: Österreichischer Bundesverlag für Unterricht, Wissenschaft und Kunst.
Verrall, John W. (1966). Fugue and Invention in Theory and Practice. Palo Alto: Pacific Books. OCLC 1173554.
Walker, Paul (1992). The Origin of Permutation Fugue. New York: Broude Brothers Limited.
Walker, Paul Mark (2000). Theories of Fugue from the Age of Josquin to the Age of Bach. Eastman studies in music. 13. Rochester: University of Rochester Press. ISBN 9781580461504. OCLC 56634238.
Further reading[edit]
Horsley, Imogene (1966). Fugue: History and Practice. New York/London: Free Press/Collier-Macmillan.
External links[edit]
Look up fugue in Wiktionary, the free dictionary.
Wikisource has the text of the 1911 Encyclopædia Britannica article Fugue.
Downloadable PDFs of J.S. Bach's Well-Tempered Clavier on Mutopia
Fugues of the Well-Tempered Clavier (viewable in Adobe Flash or Shockwave)
Theory on fugues
Fugues and Fugue Sets
Analyses of J.S. Bach's Well-Tempered Clavier with accompanying recordings
"Fugue". The American Cyclopædia. 1879.
Video Visualization of Bach's "Little" Fugue in G minor, Organ
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Shimla district
From Wikipedia, the free encyclopedia
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This article is about the district. For its eponymous headquarters, see Shimla.
District in Himachal Pradesh, India
Shimla district
District
Nickname(s): The Queen of Hills
Country
India
State
Himachal Pradesh
Headquarters
Shimla
Government
• Deputy Commissioner
Amit Kashyap, IAS
• Superintendent of Police
Omapati Jambval
• Lok Sabha Constituencies
Shimla
• Vidhan. Sabha Constituencies
[show]
Shimla
Shimla(Rural)
Kasumpti
Theog
Kotkhai & Jubbal
Rohru
Chopal
Rampur
Area
• Total
5,131 km2 (1,981 sq mi)
Population (2011)
• Total
813,384
• Rank
3rd
• Density
160/km2 (410/sq mi)
Languages
• Official
Hindi
Demographics
• Sex ratio
916
• Literacy
84.55
• Literacy: male
90.73
• Literacy: female
77.80
Time zone
IST (UTC+5:30)
Area code(s)
91 177 xxxxxxx
ISO 3166 code
IN-HP
Largest city
Shimla
Climate
ETh (Köppen)
Precipitation
1,520 millimetres (60 in)
Avg. annual temperature
17 °C (63 °F)
Avg. summer temperature
22 °C (72 °F)
Avg. winter temperature
4 °C (39 °F)
Website
hpshimla.nic.in/welcome.asp
Shimla district of Himachal Pradesh lies between longitude 77.00" and 78.19" east and latitude 30.45" and 31.44" north, with its headquarters in Shimla. It is surrounded by Mandi and Kullu in the north, Kinnaur in the east, Uttarakhand in the southeast, Solan to the southwest and Sirmaur in the south. The elevation of the district ranges from 300 metres (984 ft) to 6,000 metres (19,685 ft).
As of 2011 it is the third most populous district of Himachal Pradesh (out of 12), after Kangra and Mandi.[1] It is the most urbanized district of Himachal Pradesh.
The most commonly practised religion in the district is Hinduism. Hindi and Pahari are the languages spoken. Tourism and agriculture/horticulture are the majors source of income.
Contents
1 Administrative structure
2 Access
2.1 By road
3 District profile
3.1 Population
3.1.1 Literacy and education levels
3.1.2 Education level attained
3.1.3 Age groups
3.1.4 Major towns
3.1.5 Type of house (% of households occupying)
4 Climate
5 Demographics
6 See also
7 References
8 External links
Administrative structure[edit]
Sl. No.
Particulars
Description
1 Geographical Area 5,131 km2
2 Area (out of total area) of H.P. 9.22%
3 Tehsils (12) Rampur, Kumarsain, seoni(shimla), Shimla(R), Shimla(U), Theog-panoli, Chaupal, Jubbal, Kotkhai, Rohru, Chirgaon, Dodra Kawar
4 Sub-Tehsils (5) Nankhari Rampur, Junga Shimla (R), Cheta(Kupvi) Chaupal, Nerwa Chaupal, Tikar Rohru
5 Towns (10) Rampur, Narkanda, seoni(shimla), Kumarsain, Shimla, Theog, Chaupal, Kotkhai, Jubbal, Rohru
6 Sub-Divisions (7) Shimla(U), Shimla(R), Theog, Chaupal, Rohru, Rampur, Dodra Kawar
7 C.D. Blocks (10) Mashobra, Theog, Chaupal, Jubbal, Kotkhai, Rohru, Kumarsain, Chirgaon, Basantpur, Nankhari
8 Legislative Assembly (8) Rampur, Shimla(R), Shimla(U), Theog, Chaupal, Jubbal - Kotkhai, Rohru, Kasumpati
9 Villages 2,914
10 Inhabited 2,520
11 Uninhabited 394
12 Density 159 person per km2
13 Panchayts 363
Access[edit]
Kalka-ShimlaWERA train
Jubbarhatti Airport
By road[edit]
Shimla is connected by road to all the major towns. Distance between the major towns and Shimla:
Kalka - 80 km
Patiala - 172 km
Chandigarh - 119 km
Ambala - 166 km
Delhi - 380 km
Agra - 568 km
Amritsar - 342 km
Jammu (via Pathankot) - 482 km
Chaupal - 100 km
Srinagar - 787 km
Jaipur - 629 km
Dharmsala (via Mandi) - 290 km
Dharamsala (via Hamirpur) - 235 km
Dalhousie - 345 km
Chamba - 401 km
Kullu - 235 km
Manali - 280 km
Mandi - 153 km
Palampur - 270 km
Rohru - 129 km
Dehradoon - 275 km
Theog - 28 km
Rampur - 132 km
District profile[edit]
View of a Himalayan valley
Ridge Shimla
Indian Institute of Advanced Studies, Shimla
Sheep flock
Dhami village near Shimla
Population[edit]
As of Census of India 2001[2]
Population count - 813,384
Males - 424,486
Females - 388,898
Sex ratio (females per 1000 males) - 916
Growth (2001–2011) - 12.58%
Rural - 555,269
Urban - 167,233
Scheduled Caste population - 188,787
Percentage to total population - 26.13%
Scheduled Tribe population - 4,112
Percentage to total population - 0.57%
Number of households - 1 54,693
Household size (per household) - 5
Literacy and education levels[edit]
Literates
Persons - 619,427
Males - 347,013
Females - 272,414
Literacy rate
Persons - 84.55%
Males - 90.73%
Females - 77.80%
Education level attained[edit]
Total - 504,330
Without level - 11,640
Below primary - 97,060
Primary - 114,805
Middle - 78,995
Matric/Higher Secondary/Diploma - 153,284
Graduate and above - 48,464
Age groups[edit]
0 – 4 years - 59,305
5 – 14 years - 149,801
15 – 59 years - 455,784
60 years and above (incl. A.N.S.) - 57,612
Major towns[edit]
Shimla (M Corp.) - 142,555
Rampur (M Cl) - 9,653
Rohru (M CI) - 8,205
Chaupal (NP) - 6786
Theog (M CI) - 5435
Total inhabited villages - 2,520
Type of house (% of households occupying)[edit]
Permanent - 83.2
Semi-permanent - 14.6
Temporary - 2.2
Climate[edit]
hideClimate data for Shimla (1951–1980)
Month
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
Year
Record high °C (°F)
21.4
(70.5) 22.6
(72.7) 25.8
(78.4) 29.6
(85.3) 32.4
(90.3) 31.5
(88.7) 28.9
(84) 27.8
(82) 28.6
(83.5) 25.6
(78.1) 23.5
(74.3) 20.5
(68.9) 32.4
(90.3)
Average high °C (°F)
8.9
(48) 10.6
(51.1) 14.8
(58.6) 19.4
(66.9) 22.9
(73.2) 24.1
(75.4) 21.0
(69.8) 20.2
(68.4) 20.1
(68.2) 23.7
(74.7) 15.1
(59.2) 12.0
(53.6) 17.3
(63.1)
Average low °C (°F)
1.7
(35.1) 3.0
(37.4) 6.8
(44.2) 11.1
(52) 14.2
(57.6) 15.6
(60.1) 15.0
(59) 14.8
(58.6) 13.4
(56.1) 10.7
(51.3) 7.0
(44.6) 4.3
(39.7) 9.8
(49.6)
Record low °C (°F)
−10.6
(12.9) −8.5
(16.7) −6.1
(21) −1.3
(29.7) 1.4
(34.5) 7.8
(46) 9.4
(48.9) 10.6
(51.1) 5.0
(41) 0.2
(32.4) −1.1
(30) −12.2
(10) −12.2
(10)
Average precipitation mm (inches)
54.6
(2.15) 47.2
(1.858) 59.4
(2.339) 41.1
(1.618) 56.4
(2.22) 175.6
(6.913) 376.5
(14.823) 335.1
(13.193) 190.2
(7.488) 46.2
(1.819) 13.8
(0.543) 16.0
(0.63) 1,424.8
(56.094)
Average rainy days
4.7 4.1 5.2 3.6 4.6 10.3 18.3 18.1 9.9 2.9 1.3 1.8 84.8
Source: India Meteorological Department (record high and low up to 2010)[3][4]
Demographics[edit]
Religious composition, Shimla District
Hinduism
97.23%
Islam
1.45%
Sikhism
0.5%
Buddhism
0.4%
According to the 2011 census Shimla district has a population of 813,384,[1] roughly equal to the nation of Comoros[5] or the US state of South Dakota.[6] This gives it a ranking of 483rd in India (out of a total of 640).[1] The district has a population density of 159 inhabitants per square kilometre (410/sq mi).[1] Its population growth rate over the decade 2001-2011 was 12.58%.[1] Shimla has a sex ratio of 916 females for every 1000 males,[1] and a literacy rate of 84.55%.[1] It has the highest urban population of all districts in Himachal. The urban population forms 24.77% of the district. Simla district has always been a Hindu majority district from time imemorable but has gone through numerous change throughout the decades.
See also[edit]
Bhattakufer
References[edit]
^ Jump up to: a b c d e f g "District Census 2011". Census2011.co.in. 2011. Retrieved 2011-09-30.
Jump up ^ Census of India
Jump up ^ "Shimla Climatological Table Period: 1951–1980". India Meteorological Department. Archived from the original on 14 April 2015. Retrieved 10 April 2015.
Jump up ^ "Ever recorded Maximum and minimum temperatures up to 2010" (PDF). India Meteorological Department. Archived from the original (PDF) on 21 May 2013. Retrieved 10 April 2015.
Jump up ^ US Directorate of Intelligence. "Country Comparison:Population". Retrieved 2011-10-01. Comoros 794,683 July 2011 est.
Jump up ^ "2010 Resident Population Data". U. S. Census Bureau. Retrieved 2011-09-30. South Dakota 814,180
External links[edit]
Wikimedia Commons has media related to Shimla district.
Official website of the Shimla district
District Profile
Cultural & tourism heritage of the district
show
Places adjacent to Shimla district
Mandi District Kullu district
Solan district
Shimla district
Kinnaur district
Uttarkashi district, Uttarakhand
Sirmaur district Dehradun district, Uttarakhand
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State of Himachal Pradesh
Capital: Shimla
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v
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State of Himachal Pradesh
Capital: Shimla
Topics
Education
History
Prehistory and protohistory
Early history
Mughal rule
British rule
Freedom struggle
Kangra-Lambagraon
Punjab Hill States agency
Guge
Culture
Arts and crafts
Languages
Music
Traditional dances
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Una
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Kullu
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Mandi
Shimla division
Kinnaur
Shimla
Sirmaur
Solan
Major cities
Shimla
Solan
Nahan
Mandi
Sundar Nagar
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Economy
Agriculture
Animal husbandry
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Geography
Lakes
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People
The Great Khali
14th Dalai Lama
Mohit Chauhan
Prem Kumar Dhumal
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Sukh Ram
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more
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GND: 4616782-1
VIAF: 131472067
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Economic survey of India
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The Department of Economic Affairs, Finance Ministry of India presents the Economic Survey in the parliament every year, just before the Union Budget.It is prepared under the guidance of the Chief Economic Adviser, Finance Ministry. It is the ministry's view on the annual economic development of the country. A flagship annual document of the Ministry of Finance, Government of India, Economic Survey reviews the developments in the Indian economy over the previous 12 months, summarizes the performance on major development programs, and highlights the policy initiatives of the government and the prospects of the economy in the short to medium term. This document is presented to both houses of Parliament during the Budget Session.The Economic survey of India 2014-15 said India could target foreign exchange reserves of $750 billion-$1 trillion.[1]
Unlike the traditional Economic Survey, the Economic survey of 2016-17 doesn't have the detailed financial statistics of the government of India.These will be released later in 2017.
See also[edit]
Economic Survey of India 2011
References[edit]
Jump up ^ "RBI Monetary Policy $1 trillion forex reserves: A pipe dream".
External links[edit]
Economic Survey 2008-2009
Economic Survey 2009-2010
Economic Survey 2010-2011
Economic Survey of India 2012-13
Economic Survey 2014-2015
Economic Survey Volume-I 2015-2016
Economic Survey Volume-II 2015-2016
Economic Survey of India Volume-I 2016-17
Economic Survey of India Volume-II 2016-17

This article related or pertaining to the economy of India is a stub. You can help Wikipedia by expanding it.
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text:
You're in the Army Now (song)
From Wikipedia, the free encyclopedia
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"You're in the Army Now"
Song
Written
1917
Composer(s)
Isham Jones
Lyricist(s)
Tell Taylor
Ole Olsen
"You're in the Army Now" also known as "We're in the Army Now"[1] is an American song written in 1917 by Isham Jones.[2] Lyrics were written by Tell Taylor and Ole Olsen.[3]
Contents
[hide]
1 Lyrics
2 In popular culture
3 References
3.1 Bibliography
Lyrics[edit]
There are at least two versions of the lyrics with "You'll never get rich, you son of a bitch" often replaced with "You'll never get rich by digging a ditch".
In popular culture[edit]
The piece of music has appeared in several movies and cartoons about the US Army from The Big Parade to The Dirty Dozen to The Draft Horse to "Rio Grande (film)" with the lyrics providing titles for two 1941 army comedies You're in the Army Now and You'll Never Get Rich. The original title of the television series The Phil Silvers Show was You'll Never Get Rich.
References[edit]
Jump up ^ "IN Harmony: Sheet Music from Indiana".
Jump up ^ Smith, Kathleen E. R., God Bless America: Tin Pan Alley Goes to War, University Press of Kentucky, 2003, p.99.
Jump up ^ Herder, Ronald, 500 Best-Loved Song Lyrics, Dover Publications, 1998, p. 400.
Bibliography[edit]
Herder, Ronald, 500 Best-Loved Song Lyrics, Dover Publications, 1998. ISBN 048629725X
Smith, Kathleen E. R., God Bless America: Tin Pan Alley Goes to War, University Press of Kentucky, 2003. ISBN 0813122562
This 1910s song article is a stub. You can help Wikipedia by expanding it.
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The SteelDrivers
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
The SteelDrivers
Origin
Nashville, Tennessee, U.S.
Genres
Bluegrass
Years active
2005–present
Labels
Rounder
Members
Richard Bailey
Kelvin Damrell
Mike Fleming
Tammy Rogers
Brent Truitt
Adam Wakefield
Past members
Chris Stapleton
Mike Henderson
Gary Nichols
The SteelDrivers are a bluegrass band from Nashville, Tennessee. Members include fiddler Tammy Rogers, bassist Mike Fleming, guitarist Kelvin Damrell, mandolinist Brent Truitt, and banjoist Richard Bailey. The band has recorded four albums on the Rounder Records label and one independent live album recorded at The Station Inn.
After playing at bluegrass festivals they signed to Rounder Records and released a self-titled debut in 2008, featuring new lead singer Chris Stapleton.[1] The album peaked at No. 57 on the U.S. Billboard Top Country Albums chart.[2] The group was nominated for a Grammy Award in 2009 for Best Country Performance by a Duo or Group with Vocals for their song "Blue Side of the Mountain."[3] In 2010, the group received two nominations for its second album, Reckless. The album has been nominated for both Best Bluegrass Album and Best Country Performance by a Duo or Group with Vocal for the song "Where Rainbows Never Die".[4]
Stapleton announced in April 2010, that he was leaving the band to focus on raising his family.[5] He was replaced by former Mercury Records artist Gary Nichols on lead vocals and guitar.[6] In December 2011, founding member Mike Henderson left the band.[7][8] Henderson was replaced by Nashville musician and record producer Brent Truitt. In 2015, the new lineup received a Best Bluegrass Album Grammy Award for its album, The Muscle Shoals Recordings.[9]
Contents
1 Discography
1.1 Albums
1.2 Music videos
2 Awards and Nominations
3 References
Discography[edit]
Albums[edit]
Title
Album details
Peak chart positions
US Grass
US Country
US Heat
The SteelDrivers
Release date: January 15, 2008
Label: Rounder Records
2 57 —
Reckless
Release date: September 7, 2010
Label: Rounder Records
2 — 17
Hammer Down
Release date: February 5, 2012
Label: Rounder Records
1 — 6
The Muscle Shoals Recordings
Release date: June 16, 2015
Label: Rounder Records
1 — 5
"—" denotes releases that did not chart
Music videos[edit]
Year
Video
Director
2013
"I'll Be There"[10]
Dycee Wildman
"Wearin' a Hole"[11]
2015
"Long Way Down"
Awards and Nominations[edit]
Year
Nominee/work
Award
Result
2009 "Blue Side of the Mountain" Best Country Performance by a Duo or Group with Vocal Nominated
2011 Reckless Best Bluegrass Album Nominated
"Where Rainbows Never Die" Best Country Performance by a Duo or Group with Vocal Nominated
2015 The Muscle Shoals Recordings Best Bluegrass Album Won
References[edit]
Jump up ^ The Steeldrivers at Allmusic
Jump up ^ Billboard, Allmusic
Jump up ^ Flippo, Chet (22 January 2009). "NASHVILLE SKYLINE: A Deserved Grammy Nod for SteelDrivers". CMT. Retrieved 13 September 2010.
Jump up ^ http://www.grammy.com/nominees%7Caccessdate=6 December 2010
Jump up ^ "Chris Stapleton leaves The SteelDrivers". Country Standard Time. 1 April 2010. Retrieved 8 September 2010.
Jump up ^ "Gary Nichols named SteelDrivers' new singer". Country Standard Time. 2 April 2010. Retrieved 8 September 2010.
Jump up ^ "Mike Henderson Exits the Steeldrivers". Bluegrass Today. 8 December 2011. Retrieved 19 January 2012.
Jump up ^ "Mike Henderson Moves On". Bluegrass Today. 21 December 2011. Retrieved 19 January 2012.
Jump up ^ "58th Annual Grammy Award winners". www.grammy.com. Retrieved 18 April 2018.
Jump up ^ "CMT : Videos : The SteelDrivers : I'll Be There". Country Music Television. Archived from the original on July 18, 2013. Retrieved February 12, 2013.
Jump up ^ "CMT : Videos : The SteelDrivers : Wearin' a Hole". Country Music Television. Archived from the original on October 14, 2013. Retrieved October 12, 2013.
Authority control
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