Marx - Variations On A Theme And Fugue ( Op132 ) Study On The Technique Of Linear

Max-Reger(1873—1916) was an outstanding German composer, from the endof the 19th century to the beginning of the 20th century. He was good at duplicating sound in music. But his important history status and brilliant contribution had not actually been accepted after he died. Many people knew little about him until the 70s of the 20th century. People then have gradually realized this composer's significant value. Specially, there is the excellent duplicate sound music technique in his many works, which improves the 20th century music's diversification.Max-Reger opposed "heading music" in his life, advocated "absolute music". But it isn't simple to "Return to the acients". According to his technique of traditional music, he was actually Brahms-Lohannes's follower. Melting the semitone and harmonic in his work each quoin, he inherited Wagner's harmonic style. He combined two kinds of entirely different music styles together, and built up a special "Chromatische Polyphonie" style. Max-Reger pushed it to a peak which is his most significant contribution in the music history.Max-Reger cherished fuge in his life, which is the highest form of polyphon. He combined it with Partita, and made a classical poem rules and non- classical poem rules comprehensive music form. This paper analyses Max-Reger's most famous orchestra work, (op 132) contacting with his other related works, attempts to study his writing characteristic in the Polyphon aspect, and obtains the model and the enlightenmentThis paper will be divided into seven parts. They are:1 Max-Reger's biography and creation synopsis2 A summary of the structure of Partita and Fuga3 Synopsis of Chromatische Polyphonie4 Creation background of< Mozart subject Partita and Fuga>(op 132)5 Linearity writing technique of(op 132)6 Partita inheriting with innovation and Parts analysis7 Fuga melody analysis...