Logistikinnovationen gelten als ein bisher wenig untersuchtes Feld. Der vorliegende Sammelband Business Innovation in der Logistik greift diese Lücke auf. Neben den theoretischen Grundlagen werden verschiedene Anwendungsbereiche von Logistikinnovationen behandelt. Dazu zählen auch konkrete Geschäftsmodellinnovationen von Marktakteuren in Zusammenarbeit mit ihren Geschäftspartnern.

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Business innovation in logistics

Opportunities and challenges for science and practice

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Logistics innovations are considered a field that has so far been little examined. This anthology Business Innovation in Logistics addresses this gap. In addition to the theoretical basics, various areas of application of logistics innovations are dealt with. This also includes concrete business model innovations from market players in cooperation with their business partners.

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The Art of Fugue work by Bach

Alternate titles: “Die Kunst der Fuge”, “The Art of Fugue, BVW 1080”, “The Art of the Fugue”

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The Art of Fugue, German Die Kunst der Fuge, also called The Art of the Fugue, formally The Art of Fugue, BWV 1080, monothematic cycle of approximately 20 fugues written in the key of D minor, perhaps for keyboard instrument, by Johann Sebastian Bach. The number and the order of the fugues remain controversial, as does the work’s date of composition. Bach did not indicate which instruments were to be used to perform the work, but experts surmise that he would have chosen the organ and harpsichord or a small string or chamber orchestra. The work has been performed on a wide variety of instruments, including the piano, and by string quartets, chamber orchestras, and saxophone ensembles.

The Art of Fugue reveals Bach’s preoccupation with counterpoint and the canon. The theme, which is introduced in the first movement, is transformed and elaborated on in the same key in powerful and hypnotic ways until the climactic four-part final movement, which, in Bach’s original, ends abruptly in mid-line. What happened to the remainder of the composition, if indeed it was written down, is unknown. The unfinished nature of this composition continues to spur musicological speculation. Bach’s contemporaries concluded that The Art of Fugue was his final composition, but modern scholars believe that it may be an earlier work (likely completed in 1742) that Bach continued to tinker with and whose editing for publication was simply left unfinished upon his death. Also debated is the question of whether the fugues were really meant to be performed or whether they were more pedagogical in intention. His The Well-Tempered Clavier (1722 and 1742), after all, was intended for harpsichord instruction; The Art of Fugue may have been meant to serve the same purpose. So too, some speculate that Bach may have deliberately left the final movement incomplete, perhaps to invite a performer’s own creativity.

Bach’s plan was apparently to forge a sequence of fugues, each slightly more complicated than the preceding one, so that a student working through the fugues in order would gradually learn the characteristic elements of the form. In 1749 the 65-year-old Bach sent the first portion of the manuscript to a respected publisher with whom he had worked before. Because the composer died before the proofs were ready for inspection, finalization of the collection fell to Bach’s surviving sons, four of whom were also composers; they guessed as best they could about their father’s intended ordering.

Betsy Schwarm

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Baroque music

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Key People: Johann Sebastian Bach

Related Topics: concertato style empfindsamer Stil stile moderno Italian style stile antico

Baroque music, a style of music that prevailed during the period from about 1600 to about 1750, known for its grandiose, dramatic, and energetic spirit but also for its stylistic diversity.

Claudio Monteverdi: Madrigals

One of the most dramatic turning points in the history of music occurred at the beginning of the 17th century, with Italy leading the way. While the stile antico, the universal polyphonic style of the 16th century, continued, it was henceforth reserved for sacred music, while the stile moderno, or nuove musiche—with its emphasis on solo voice, polarity of the melody and the bass line, and interest in expressive harmony—developed for secular usage. The expanded vocabulary allowed for a clearer distinction between sacred and secular music as well as between vocal and instrumental idioms, and national differences became more pronounced.

More From Britannica wind instrument: The Baroque and Classical periods

The opera, oratorio, and cantata were the most important new vocal forms, while the sonata, concerto, and overture were created for instrumental music. Claudio Monteverdi was the first great composer of the “new music.” He was followed in Italy by Alessandro Scarlatti and Giovanni Pergolesi. The instrumental tradition in Italy found its great Baroque composers in Arcangelo Corelli, Antonio Vivaldi, and Giuseppe Tartini. Jean-Baptiste Lully, a major composer of opera, and Jean Philippe Rameau were the masters of Baroque music in France. In England the total theatrical experience of the Stuart masques was followed by the achievements in vocal music of the German-born, Italian-trained George Frideric Handel, while his countryman Johann Sebastian Bach developed Baroque sacred music in Germany. Other notable German Baroque composers include Heinrich Schütz, Dietrich Buxtehude, and Georg Philipp Telemann. For a detailed treatment of Baroque music, see Western music: The Baroque era.

This article was most recently revised and updated by Naomi Blumberg.

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The Art of Fugue work by Bach

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