Abstract

These pages seek to simulate the score of a contrapuntal composition that plays across three imbricated voice-parts as though it were some sort of fugue. By such gesture, music presents itself here among other media. Etymologically derived from fugere and fugare, to flee and to pursue, fugue has since the renaissance been imagined as a product of simultaneous composition along vertical and horizontal axes. In its call and response articulation among (here three) parts, such composition is always imitative. These pages thus imitate and contrapuntally respond to the call in J.M. Coetzee's fiction, especially after the "Plunk-Plink-Plonk" of banjo in Disgrace, and the polyphonic page presentation in Diary of a Bad Year.

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