Modal and Tonal Counterpoint From Josquin to Stravinsky

ISBN-10: 0028721454

ISBN-13: 9780028721453

Edition: 1992

Authors: Harold Owen
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Book details

List price: $173.95
Copyright year: 1992
Publisher: Wadsworth
Publication date: 3/19/1992
Binding: Paperback
Pages: 400
Size: 8.50" wide x 11.00" long x 0.75" tall
Weight: 2.046
Language: English

Preface
Introductory Concepts
The Nature of Polyphonic Music: Terms and General Concepts
Polyphony and Style: A Comparison of Examples From the Fourteenth to the Twentieth Centuries
Counterpoint in the Late Renaissance (1500-1600)
Two-Part Counterpoint Basic Principles of Sixteenth-Century Style
Two-Part Counterpoint: First and Second Species Counterpoint
Two-Part Counterpoint: Third, Fourth, and Fifth Species
Two-Part Motets: Setting of Text Formal Considerations
Two-Part Secular Music: Instrumental Duo Canzonet
Three-Part Counterpoint: Motet
Canzonet
Fantasia
Four Part Counterpoint: Dance Variations Motet
Madrigal
Polyphony in More Than Four Parts
Counterpoint in The Early Baroque (1600-1700)
Stylistic Innovations: The Basso Continuo; the Emergence of Tonality
New Uses of Dissonance
Chromaticism
Continuous Variations: Ground Bass
Chaconne; and Passacaglia
Trio Texture: Two Trebles With Continuo
Predecessors of the Fugue: Canzona
Ricercar
Fantasia; and Choral Fugato
Counterpoint in the Late Baroque (1700-1750)
Review of Basic Concepts and Introduction to Eighteenth-Century Counterpoint
Polyphonic Style in 1700: Melodic, Harmonic, and Temporal Considerations
Polyphonic Textures
Cantus Firmus Compositions: The Chorals Prelude
Invention: Bach's Two-Part Inventions
Three-Part Counterpoint: Bach's Sinfonia's. Canon: Two-Part Canon
Accompanied Canon
Canonic Chorale
Fugue I: Overview
Subject and Response
Countersubject
Fugue II: The Exposition in Three and Four Parts
Fugue III: Development
Episodes
Contrapuntal Techniques and Devices
Stretto
Concluding Techniques
Genres Using Fugal Technique: Gigue, Fugal Sonata Movement
Fugal Chorus
Polyphony in the Classical and Romantic Eras (1750-1900)
Polyphony in the Classical Era: Counterpoint in Haydn, Mozart, and Beethoven
Polyphony in the Romantic Era: Counterpoint in Mendelssohn, Brahms, Franck, and Others
Polyphony In The First Half of the Twentieth Century
Serial and Atonal Counterpoint
Counterpoint in Hindemith, Bartok, and Stravinsky
Identification of Examples in Chapter 1
The Ecclesiastical Modes and the Hexacord System
A Guide to the Interpretation of Figured Bass Symbols
Glossary
Discography
Selected Bibliography
List of Musical Examples for Discussion
Index
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