Counterpoint

A Species Approach Based on Schenker's Counterpoint

Häftad, Engelska, 2005

607 kr

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Beskrivning

Counterpoint is a textbook for use as a stand-alone text in a course on species counterpoint or as a supplementary text for standard college-level courses in music theory. It is based on Heinrich Schenker's (1868-1935) two-volume study of counterpoint. It is intended to help all students of theory or composition to improve their musicianship by examining the voice-leading that underlies Western tonal music.The book proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Schenker's more in-depth study. For the sake of brevity, musical examples are available on the Scarecrow Press website (www.scarecrowpress.com), rather than within the text itself. Everyone from beginning music theory students to composers to graduate composition students will greatly benefit from the methods presented here. Rather than actually teaching a student to compose, working through these exercises will improve musicianship as it applies to both composition and understanding music theory.

Produktinformation

Utgivningsdatum:2005-01-04
Mått:143 x 215 x 13 mm
Vikt:195 g
Format:Häftad
Språk:Engelska
Antal sidor:148
Förlag:Scarecrow Press
ISBN:9780810854093

Utforska kategorier

Musikvetenskap inom Kultur

Mer om författaren

Henry Martin, Professor of Music at Rutgers University in Newark, has pursued a dual career as a composer-pianist and as a music theorist specializing in jazz and the Western tonal tradition.

Innehållsförteckning

Part 1 PrefacePart 2 Part One: Two-Part CounterpointChapter 3 1 Exercise Writing and the Cantus FirmusChapter 4 2 Two-Part First Species (Note Against Note)Chapter 5 3 Two-Part Second Species (Two Notes Against One)Chapter 6 4 Two-Part Third Species (Four Notes Against One)Chapter 7 5 Two-Part Fourth Species (Syncopation)Chapter 8 6 Two-Part Fifth Species (Mixed Counterpoint)Part 9 Part Two: Three-Part CounterpointChapter 10 7 Three-Part First SpeciesChapter 11 8 Three-Part Second SpeciesChapter 12 9 Combined Counterpoint of the Second SpeciesChapter 13 10 Three-Part Third SpeciesChapter 14 11 Combined Counterpoint of the Second and Third SpeciesChapter 15 12 Three-Part Fourth SpeciesChapter 16 13 Three-Part Mixed SpeciesChapter 17 14 Combined Species Incorporating SyncopationChapter 18 15 Combined Species with the Mixed Species; ImitationPart 19 Part Three: Free CompositionChapter 20 16 Modulation (Cadences to New Key Centers)Chapter 21 17 Two-Part Free Counterpoint to the First CadenceChapter 22 18 More on Imitation; First PieceChapter 23 19 Invertible Counterpoint (Octave)Chapter 24 20 More on Invertible CounterpointPart 25 AppendicesChapter 26 1 Four-Part First SpeciesChapter 27 2 Four-Part Simple Species (Second, Third, Fourth, Mixed)Chapter 28 3 Five-, Six-, Seven-, and Eight-Part CounterpointChapter 29 4 Four-Part Combined CounterpointsChapter 30 5 Three- or Four-Part Kyrie; StrettoPart 31 BibliographyPart 32 IndexPart 33 About the Author