countersubject


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countersubject

(ˈkaʊntəˌsʌbdʒɪkt)
n
(Classical Music) music (in a fugue) the theme in one voice that accompanies the statement of the subject in another
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
Translations
controsoggetto
References in periodicals archive ?
During practice, students should focus on bringing out the subject, countersubject and their various permutations.
2 turns out to be a countersubject that can be played by the right hand in m.
The countersubject bears a remarkable reciprocal relationship to the subject, unlike other fugues.
At a certain point in fact I decided that traditional categories like "theme and accompaniment" or "subject and countersubject" did not confront what began to appear to me as the vast spectrum of relations that vertical elements contributing to musical continuity can have with each other in terms of the piece's past and future.
The subject and the countersubject lead to yet another idea which constitutes the answer--the mother feeding or "poisoning" the dog on girt [A] {mother--feed--dog}.
In these moments, the narrators' voices take on the role of countersubject, defined as 'a recurring counterpoint to the theme, often (but not always) adding its own motives.
Taking his structural cue from a Bach fugue, with its central melody joined by multiple voices in countersubject, Moses spins an elaborate web of plots and deceptions, blackmailing, kidnapping, bribery and forged letters, illicit pacts and betrayals.
Albrecht for Barenreiter thinks not, though, lest the reader imagines that I am about to side with Albrecht, it should be noted that Beckmann leaves unaltered the quirky rhythm of the countersubject in the first imitative section of the Praeludium in C major, BuxWV136, which Albrecht removes; it is hard to believe that such a distinctive feature could be an error of transcription.
This segues into a fugal four-part chorus in F major with a lengthy subject and consistent countersubject forming a clearly conceived exposition; the rest of the movement maintains a strong polyphonic thread, but the strictness of the exposition gradually dissipates.
The fugal writing is simple and easy to follow, and new entrances of the subject and countersubject are constructed in ways that make the needed entrance pitch easy to find among the other voices.
The main function of legal limitations is creation of conditions for satisfaction of interests of countersubjects and public interests in protection and security.
Both the music and the lyrics play with the motive and its "concomitant countersubjects" which build to a climax.