Abstract:
"This thesis investigates the writing of tonal contrapuntal textures in five parts or more and examines the characteristics of the synthetic voice and the role that the synthetic voice plays when combined with the usual four-part harmonic framework. The thesis takes as a basis Renwick's concept of voice-leading matrices, although my own methodology deviates from Renwick's approach, to help to locate the synthetic voice and also to tie together the cadential areas and the intervening sections of the works as well. As this thesis shows, one way to avoid an uninteresting voice is to have the synthetic voice migrate from part to part. All the works under discussion are by J.S. Bach, who was selected because of his acknowledged mastery of contrapuntal procedures"
