Musicology Annotation << Back Playing forms in Bach’s fugues Elena M. Alkon The author considers the possibility of simultaneous combination of several musical forms in the fugues of the Bach’s WTC. The playing forms means the polyphony of structural principles that is defi ned as a feature of Bach’s fugue, its poetics. This complex phenomenon, involving «virtual layers of composition» (T.N. Dubravskaya), expects the highest degree of the architectonic hearing. The historical-stylistic approach is based on the peculiarities of Bach’s talent, aesthetics and poetics of the Baroque style, as well the tendencies of the Bach time. The «equidistance principle» in Bach’s fugue (A.G. Chugaev) is defi ned as a main one, but the manifestation of other compositional principles is also possible. The composition of the fugue as a whole is realized as the original number, that can be represented as variants of addends (terms). The combinations of two, three and four plans of the composition are illustrated by three fugues: c-moll, g-moll from the fi rst volume WTC (respectively, for 2 and 3 plans), and the fugue c-moll from the second volume (for 4 plans). The issues of semiotics, semantics and numerical symbols are concerned as well. Keywords: polyphony of forms, I. S. Bach, WTC, fugue, baroque, architectonic hearing. Contacts: E-mail: elenalkon@mail.ru Pp. 42-52.