Counterpoint: The Polyphonic Vocal Style of the Sixteenth CenturyCourier Corporation, 15 d’abr. 2013 - 320 pàgines This classic introductory text focuses on the polyphonic vocal style perfected by Palestrina. Unlike many other texts, it maintains a careful balance between theoretical and practical problems, between historical and systematic methodology. The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint. In Part One, Knud Jeppesen (1892–1974), the world-renowned musicologist and leading authority on Palestrina, offers a superb outline history of contrapuntal theory. He begins by exploring the beginnings of contrapuntal theory from the ninth to the fourteenth centuries. This is followed by separate discussions of each succeeding century, the styles of Palestrina and Bach, the "Palestrina Movement" after Fux, and more. The section ends with illuminating coverage of notation, the ecclesiastical modes, melody, and harmony. The second part of the book contains an extended treatment of "species" counterpoint in two, three, and four parts, as well as counterpoint in more than four parts, and specific discussions of the canon, the motet, and the Mass. Throughout, the text is generously supplied with musical examples―exercises, solutions, and illustrations, including many by the great composers. For this edition, the distinguished scholar Alfred Mann has contributed a new foreword to Jeppesen's classic study. Now available in paperback for the first time, it will be welcomed by musicians, composers, theorists, musicologists―any student of counterpoint and the Western musical tradition. |
Altres edicions - Mostra-ho tot
Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century Knud Jeppesen Previsualització limitada - 1992 |
Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century Knud Jeppesen Visualització de fragments - 1939 |
Frases i termes més freqüents
accented half note Aeolian alto ascending Bach Bach’s bass beginning Berardi breve cadence cambiata canon cantus firmus chiefly chordal chords clef composers composition consonance and dissonance contrapuntal contrapuntal theory counterpoint definite descending skip dominant Dorian Dorian mode ecclesiastical modes effect example exercises fifteenth century fifth fifth species figure final finally find first five fourth species frottola fugue Gregorian Gregorian chant half note harmony idioms imitation imperfect consonances influence intervals introduced Ionian Kirnberger likewise madrigal mass measure melody minor Mixolydian modern motet note against note note values occur octave Palestrina style Phrygian polyphonic practice preceding quarter note rhythm rhythmic rule scale second species seventh significant sixteenth century sixth sonance soprano style of Palestrina suspension dissonance syncope tenor textbook theme theorists third species Tinctoris tonal tone tonic treated treatment triad two-part unaccented half unaccented quarter unison upper voice Vicentino voice leading whole notes writing Zarlino