First paperback edition of classic introductory text by world-renowned musicologist, authority on Palestrina. History of contrapuntal theory, technical features, "species" exercises in two-, three- and four-part counterpoint; canon, motet, Mass, more. Many musical examples. New foreword by Alfred Mann. Introduction.
CONTENTS
FOREWORD BY ALFRED MANN
INTRODUCTION TO THE ENGLISH TRANSLATION
PREFACE
Part I
PRELIMINARIES
- I. OUTLINE HISTORY OF CONTRAPUNTAL THEORY.
- Counterpoint and Harmony Contrasted.
The Ninth to the Fourteenth Centuries: The Beginnings of Contrapuntal Theory
The Fifteenth Century: Crystallization of Principles
The Sixteenth Century: The Style of Palestrina
The Seventeenth Century: Some Pedagogical Developments
The Eighteenth Century: The Styie of Bach
The Nineteenth Century: Palestrina or Bach?
The "Palestrina Movement" after Fux
- II. TECHNiCAL FEATURES
- Notation
The Ecclesiastical Modes
Melody
Harmony
Part II
CONTRAPUNTAL EXERCISES
INTRODUCTION
- III. TWO-PART COUNTERPOINT
- First Species
Second Species
Third Species
Fourth Species
Fifth Species
Free Two-Part Counterpoint
Imitation
- IV. THREE-PART COUNTERPOINT
- First Species
Second Species
Third Species
Fourth Species
Fifth Species
Imitation
- V. FOUR-PART COUNTERPOINT
- First Species
Second Species
Third Species
Fourth Species
Fifth Species
Imitation
VI. COUNTERPOINT IN MORE THAN FOUR PARTS
VII. THE CANON
VIII. THE MOTET
IX. THE MASS
APPENDIX
THE VOCAL FUGUE
DOUBLE, TRIPLE, AND QUADRUPLE COUNTERPOINT
SUMMARYOF THE MOST IMPORTANT CONTRAPUNTAL LAWS AND RULES
Melody
Consonant Combinations
Dissonant Combinations
INDEX
