Repercussion |

from lat. repercussio – reflection

1) In the doctrine of fugue in a strict style (J. Fuchs and others), the following after the exposition, the holding of the theme and the answer in all voices (German Wiederschlag, zweite Durchführung), the reproduction of the exposition with contrapuntal. changes, genus polyphonic. variations on exposure (in modern musicology, the term is not used; the concept of “R.” is approaching the concept of fugue counter-exposure). The voice that presented the topic in the exposition is entrusted with the answer in R. (and vice versa); the theme and the answer in R. are introduced (more often on dissonance) after a pause or by a jump over a wide interval, so that the incoming chorus. the voice sounded in a different register of its range; in R., transformations of the theme are possible (eg, increase, conversion), the use of a stretta (usually less energetic than in the subsequent section of the form), and other means of development and variation. R. usually follows the exposure without caesura; R. and the final part of the form (reprise, final stretta, die Engführung) are often separated by a cadenza. See, for example, Buxtehude’s Toccata and Fugue for Organ in F-dur: exposition – bars 38-48; R. – bars 48-61; concludes. part from measure 62. In large fugues, there may be several. R.

2) In Gregorian chant, after the finalis, the most important reference tone is the mode, the sound, in which melodic is concentrated. tension (also called tenor, tuba). Appears more often than other sounds; in many psalmodic hymns. character, a lengthy recitation is carried out on it. It lies above the finalis, separated from it by an interval defined in each of the modes (from a minor third to a minor sixth). Main the tok of the mode (finalis) and R. determine the modal affiliation of the tune: in the Dorian mode, finalis d and R, and in the Hypodorian mode, d and f, respectively, in the Phrygian mode, e and c, etc.

References: Fux J., Gradus ad Parnassum, W., 1725 (English translation – Steps to Parnassus, NY, 1943); Bellermann H., Der Contrapunkt, B., 1862, 1901; Bussler L., Der strenge Satz, B., 1905 Teppesen K., Kontrapunkt, Kbh., 1885, Lpz., 1925. See also lit. at Art. Gregorian chant.

V. P. Frayonov