Abstract
The fugue presents one of the phenomena of the art of music that has stepped beyond its artistic boundaries and received a bright artistic realization in literature, painting and cinematography. The perceptions of the fugue as a genre, form or principle of contrapuntal writing, existent prior to the present time, are somewhat contradictory, an occurrence that reflects various levels of manifestation of this phenomenon. Analyzing the artistic practice, as well as the research-related versions, the authors of the article suggest for the first time to regard the fugue as a universal artistic concept, possessing its own content and structure. As a core of the concept the very principle of the fugue is determined as imitational counterpoint; the specificity of realization of this type of polyphony in various forms of art is revealed. The materialization of the concept results in the creation of the form, while its filling with concrete content that is stipulated by the semantics of the core leads to the perception of the applicable genre. This approach makes it possible to demonstrate the possibility of covering all the levels of manifestation of the fugue with the aid of one universal category. Keywords: fugue, artistic concept, genre, form, canon
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