A METHOD FOR DEVELOPING STUDENTS’ POLYPHONIC THINKING THROUGH THE INTONATIONAL ANALYSIS OF A THEME (based on J. S. Bach’s fugue and cross-stylistic parallels)

The article examines theoretical and practical aspects of working on a fugue theme as a fundamental element in developing students’ polyphonic thinking. Using the material of the Fugue in F-sharp major from the first volume of J. S. Bach’s “The Well-Tempered Clavier”, the authors analyse the structural, intonational, and performance components of the theme. The study is built around a cross-stylistic parallel with the “melodic contrafact” principle in jazz, which deepens the understanding of universal patterns in the variational development of musical material. Particular attention is paid to the interrelationship between the musical-theoretical principles of Bach’s polyphony and their interpretation in performance practice on the modern piano. The research is based on a comprehensive approach, including historical-stylistic, structural-analytical, and performance methods. The results can be applied in pedagogical practice at various levels of music education.

J. S. Bach, polyphony, fugue, theme, intonation, performance analysis, “The Well- Tempered Clavier”, polyphonic thinking, music pedagogy, interdisciplinary connections, melodic contrafact, jazz