The principles and practice of modal counterpoint:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York [u.a.]
Routledge
2011
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XII, 315 S. Ill., zahlr. Notenbeisp. |
| ISBN: | 9780415878210 9780415988650 |
Internformat
MARC
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| 020 | |a 9780415988650 |c pbk. |9 978-0-415-98865-0 | ||
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| 245 | 1 | 0 | |a The principles and practice of modal counterpoint |c Douglass M. Green and Evan Jones |
| 250 | |a 1. publ. | ||
| 264 | 1 | |a New York [u.a.] |b Routledge |c 2011 | |
| 300 | |a XII, 315 S. |b Ill., zahlr. Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references and index | ||
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Kontrapunkt |0 (DE-588)4032307-9 |2 gnd |9 rswk-swf |
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| 689 | 0 | 1 | |a Geschichte |A z |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Jones, Evan |e Sonstige |4 oth | |
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| 999 | |a oai:aleph.bib-bvb.de:BVB01-020490636 | ||
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Datensatz im Suchindex
| _version_ | 1804143150433828864 |
|---|---|
| adam_text | Contents
Foreword by
Jonathan
C. Santore
ix
Preface
χ
Chapter
1
Modes and Monophony
1
1.1
Authentic and
Piagai
Melodies in Folksong
1
1.2
Scales and Modes
2
1.3
Plainsong
4
1.4
The Problem of Ionian and Aeolian
12
Chapter
2
The Single Line
17
2.1
Species Counterpoint
17
2.2
The Melodic Line
18
2.3
Melodic Intervals
20
Chapter
3
Counterpoint During the Middle Ages
24
3.1
Early
Organum
24
3.2
Voice Interchange
26
3.3
Music Without a Plainsong Basis
28
Chapter
4
First Species in Two Voices
33
4.1
Harmonic Intervals: Consonance and Dissonance
33
4.2
Types of Motion
35
4.3
Adding a Counterpoint Against a C.F.
40
vi
Contents
Chapter
5
First Species in Three Voices
46
5.1
Harmonic Intervals
46
5.2
Characteristics of First Species in Three Voices
47
Chapter
6
Counterpoint During the Fourteenth Century
54
6.1
Fourteenth-Century Textures and Rhythms
54
6.2
Canon and
Hocket 58
6.3
Cadence Types
62
6.4
Fauxbourdon
64
6.5
The Style of John Dunstable
64
Chapter
7
Second Species in Two Voices
75
Chapter
8
Second Species in Three Voices
81
8.1
Intervals and Focal Points
- 81
8.2
Parallels on Successive Strong Beats
82
8.3
Cadences
82
Chapter
9
Counterpoint During the Renaissance
87
9.1
Introduction
87
9.2
Secular Pieces in Three-Part Counterpoint
88
9.3
Sacred Music in Four and Five Parts
98
9.4
Dissonance
107
9.5
Meter
107
9.6
Mensuration Canons
110
Chapter
10
Fourth Species in Two Voices
117
10.1
Consonant and Dissonant Syncopes
117
10.2
Suspension Types
120
10.3
Summary of Fourth Species
121
10.4
Application of Fourth Species
122
10.5
An Approach to Writing Fourth Species
124
Chapter
11
Fourth Species in Three Voices
130
11.1
Addition of a Third Voice to a Two-Voice Suspension
130
11.2
Relationship Between First and Fourth Species
134
11.3
Suspension Possible Only in Three or More Voices
136
11.4
Cadences
137
Contents
vii
Chapter
12
Texture, Melody, and Meter
141
12.1
Further Characteristics of Renaissance Music
141
12.2
The Cadential Suspension
149
12.3
Meter in the Single Line
154
12.4
Imitation and Fore-Imitation
155
12.5
TheBicinium
156
Chapter
13
Further Aspects of Species Counterpoint
164
13.1
Mixture of the Species
164
13.2
Species Counterpoint in Four Voices
165
13.3
Summary of Dissonance, Use in Second and Fourth Species
169
Chapter
14
The Melodic Line
170
14.1
Introduction to Modal Counterpoint
170
14.2
Notation
171
14.3
Melodies in Quarter-Notes and Longer Values
172
14.4
Melodies with Eighths and Sixteenths
175
14.5
Setting Latin Words
178
14.6
Mode
180
14.7
The Single Eighth-Note and the Sixteenth-Note Pair
182
14.8
Isolated Eighth-Notes in Pairs
185
14.9
Eighth-Notes in Groups of Three or More
187
14.10
Use of Accidentals
190
14.11
Melodic Curve
191
Chapter
15
Modal Counterpoint in Two Voices
195
15.1
The Dissonances
195
15.2
The True Cadence
199
15.3
The Initial Phrase in Two Voices
201
15.4
Interior Phrases
202
15.5
Method for Writing a Two-Voice Phrase
204
15.6
The Consonant Cadence
208
15.7
Analysis of a Bicinium
209
15.8
Writing a Bicinium
211
Chapter
16
Modal Counterpoint in Three Voices
214
16.1
Texture
219
16.2
Cadences
220
16.3
Motives and Imitation
225
16.4
Victoria s
Et
Misericordia
Ejus: Cadential Treatment
226
16.5
Victoria
s Et
Misericordia
Ejus: Motivic Treatment
230
viii Contents
16.6
Part Writing
232
16.7
Consonant Harmonies
233
16.8
Unaccented Dissonance
234
16.9
Accented Passing Tones
235
16.10
Suspensions
238
16.11
An Alternative Example
241
Chapter
17
Modal Counterpoint in Four or More Voices
244
17.1
Texture
244
17.2
Doubling in Consonant Sonorities
249
17.3
Suspensions in Four Voices
250
17.4
The Final Cadence
256
17.5
InitialNotes
259
17.6
Types of Imitation
260
17.7
Triple Time
263
17.8
Some Notes on Writing in Five or More Voices
267
Chapter
18
The Rise of Tonality in the Seventeenth Century
268
18.1
Dissonance as Expression in the Early Seventeenth Century
268
18.2
Dissonant Chords Before the Seventeenth Century
269
18.3
Seventh Chords in the Seventeenth Century
270
18.4
Nonchordal Dissonance: Notes of Adjacency
271
18.5
Nonchordal Dissonance: Time Extensions
273
18.6
Diminutions
276
Epilogue: The Nature of Counterpoint
281
Answer Boxes for Self-Tests
283
Appendix A: Some Latin Texts
293
Appendix B: Pronunciation of Church Latin
295
Appendix C: Tones and Text of the Magnificat: The Canticle of the Blessed
Virgin Mary (Luke
1: 46-55) 297
Appendix D: Facsimile of Parts for Palestrina s
Missa
Sine Nomine, Agnus II
299
Notes
302
Select Bibliographies
306
Index of Rules for Species Counterpoint
313
Index of Rules for Modal Counterpoint
314
Index of Musical Examples
316
|
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| id | DE-604.BV036569478 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:43:05Z |
| institution | BVB |
| isbn | 9780415878210 9780415988650 |
| language | English |
| lccn | 2010005907 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020490636 |
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| physical | XII, 315 S. Ill., zahlr. Notenbeisp. |
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| publishDateSort | 2011 |
| publisher | Routledge |
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| spelling | Green, Douglass M. 1926-1999 Verfasser (DE-588)103975292 aut The principles and practice of modal counterpoint Douglass M. Green and Evan Jones 1. publ. New York [u.a.] Routledge 2011 XII, 315 S. Ill., zahlr. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Geschichte gnd rswk-swf Kontrapunkt (DE-588)4032307-9 gnd rswk-swf Kontrapunkt (DE-588)4032307-9 s Geschichte z DE-604 Jones, Evan Sonstige oth Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020490636&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Green, Douglass M. 1926-1999 The principles and practice of modal counterpoint Kontrapunkt (DE-588)4032307-9 gnd |
| subject_GND | (DE-588)4032307-9 |
| title | The principles and practice of modal counterpoint |
| title_auth | The principles and practice of modal counterpoint |
| title_exact_search | The principles and practice of modal counterpoint |
| title_full | The principles and practice of modal counterpoint Douglass M. Green and Evan Jones |
| title_fullStr | The principles and practice of modal counterpoint Douglass M. Green and Evan Jones |
| title_full_unstemmed | The principles and practice of modal counterpoint Douglass M. Green and Evan Jones |
| title_short | The principles and practice of modal counterpoint |
| title_sort | the principles and practice of modal counterpoint |
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