Stretta vs Canon
Both terms are widely represented in modern dictionaries and manuals, and their interpretation is close to synonymous. This feature is probably the reason that the definitions of these terms are almost always considered separately and not compared, which results in not quite adequate understanding and theoretical explanation. As the title suggests, the article is devoted to comparing <i>stretta</i> and <i>canon</i> - as close though different phenomena (as well as the terms reflecting them). The authors seek to show, what is the essence of their relatedness and differences and how this should be reflected in the complex of definitions. The canonical nature, which is common to both phenomena, demonstrates itself in <i>stretta</i> and in <i>canon</i> in a different way. The reasoning is based on two theses concerning the fundamental difference between the corresponding canonical constructions. One of them refers to the different nature of the propostas in <i>stretta</i> and <i>canon</i> (we are talking about the difference between the theme in the fugue and the monophonic part of proposta in a <i>canon</i>). The other thesis is connected with the differences in the completion of the canonical section of the stretta and the strict part of the canon. A general analysis of the differences allows us to refine the respective definitions.