Contrapuncti 8 and 11 from Bach's Art of Fugue demonstrate triple fugal writing in three and four parts respectively. Contrapunctus 11 employs the original and inverted forms of the three subjects used in Contrapunctus 8. This paper investigates specific contrapuntal techniques used by Bach to articulate the sectional designs of each contrapunctus and to identify combinations of particular structural importance across both works. The approach draws upon the term horizontal-shifting counterpoint, originally coined by the early twentieth-century Russian theorist Sergei Taneyev, to assist in describing Bach's sophisticated use of imitative contrapuntal combinations that pervade the fabrics of several sections in each contrapunctus. This study also draws upon Joel Lester's model of heightened sectional constructions to show how Bach intensifies the contrapuntal combinations between and across the sections of both works.

中文翻译：

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巴赫赋格艺术第 8 和第 11 节的水平移动对位和平行部分结构

巴赫的赋格艺术中的 Contrapuncti 8 和 11 分别展示了三个和四个部分的三重赋格写作。Contrapunctus 11 采用了 Contrapunctus 8 中使用的三个主题的原始和倒置形式。本文研究了巴赫使用的特定对位技术，以阐明每个对位的截面设计，并确定两部作品中具有特殊结构重要性的组合。该方法借鉴了最初由 20 世纪早期俄罗斯理论家谢尔盖·塔尼耶夫 (Sergei Taneyev) 创造的术语水平移动对位，以帮助描述巴赫对模仿对位组合的复杂使用，这些组合遍布每个对位的几个部分的结构。这项研究还借鉴了乔尔·莱斯特 (Joel Lester)