Classic study comprises two parts. The first is a comprehensive historical survey of writings on the fugue from the beginning of fugal teaching (c. 1350) to the present. Part Two explores in depth four 18th-century studies which are its classical presentations: Steps to Parnassus, J. J. Fux (1725), A Treatise on Fugue, F. W. Marpurg (1753–54), Fundamental and Practical Essay on Fugal Counterpoint, Padre Martini (1775), A Manual of the Fundamental Principles of Composition, J. A. Albrechtsberger (1790). Translations of texts, introductions and critical commentary, and many musical examples. Index. Bibliography.
I have to confess that I only read part of this book, but I mean to return to it. Writing fugue is kind of like trying to sort out the details of particle physics - seemingly simple in the abstract but very elusive in the details. I like that Mann has included chapters by multiple theorists and composers, providing a breadth of understanding to this fascinating form of composition. Well worth the effort.
Essential for aspiring composers and adept listeners. The evolution of the fugue is content heavy and dry but highly rewarding, especially for a Bach enthusiast such as myself. The limitations and potential of a fugue is explored thoroughly enough for academia. The thought processes of the fugue pioneers are explained as well as criticised with periodic subjectivity. However I think that some of the criticism are arbitrary and could get really confusing. Perhaps I'm too ignorant of the polyphonic discourse. Nonetheless I got useful information out of the book.
I've had this book, in one form or another, since the age of 14. If it had been nothing more than a translation of J.J. Fux's "Gradus...", it would still have claim to a special place in my collection of composition oriented books.