If the fugue is the highest form of counterpoint it’s because it is truly an art. No one would deny that fugues do not write themselves, yet they are based on simple, sincere imitation, the first, most obvious ingredient one hears, yet the freedom of the voices is the fugue’s sina qua non. Different voices “speak” their individual melodies, and miraculously the result is not only coherent but harmonious too, and, at least under the masters, such harmonies! From one point of view the fugue is the highest composer’s art, even over-specified, yet it is a form-texture deriving from the performer’s highest art, improvisation, the fantasy. The fugue is in a way the quintessence of music, taking something which initially seems rigid and rule-bound, well, at least over-obedient, and sheds those rules completely to become free and creative, the fundamentally horizontal linear elements become nonlinear, sounding just as sensible vertically; sound, a dumb mathematical, physical process obeying laws of time and space, is refined into an art which can speak directly to something deep inside a warm human being. So the fugue, even as theoreticians have for centuries tried to define it and the rules of its creation (without much success), culminating in Jean-Philippe Rameau’s Traité d’harmonie (1722), at the end of which he discusses fugues and how they are written, finally saying they cannot be reduced to general rules, except “le bon goût ou la fantasie.” J. S. Bach in turn put it most aptly of all... in his music.
Contemporary art has been around long enough now to be no longer necessarily contemporary with the present day and likewise Avant-Garde seems sometimes more a style than an attitude or movement. Contemporary dance, as free and expressive as it generally is, sometimes feels held back by its stock of conventional movements and gestures. These movements are becoming less and less abstract even if they can be expressive and exhilarating and every good choreographer has their own touch with them. Of course classical ballet has its own stock of traditional steps, but these are meant to blend together smoothly; in a way the ultimate aim of the choreographer and dancer is to meld these individual steps together into the transitionary movements to become a single fluid movement and an expression of a whole more than the sum of its steps. The audience forgets to see or analyze the steps as separate.