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ISBN-10: 013080746X

ISBN-13: 9780130807465

Edition: 4th 1999 (Revised)

Authors: Kent Kennan

List price: $213.32
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Designed for courses in Music, this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work.
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Book details

List price: $213.32
Edition: 4th
Copyright year: 1999
Publisher: Prentice Hall PTR
Publication date: 7/29/1998
Binding: Hardcover
Pages: 312
Size: 6.25" wide x 9.50" long x 0.75" tall
Weight: 1.386

Suggestions for the use of this book
Historical perspective
"Strict" versus "free" counterpoint
Counterpoint as taught on the basis of stylistic norms
The nature of counterpoint
The Single Melodic Line
Melodic contour
Relative importance of notes
Harmonic implications
The compound line
Other considerations
Principles of Two-Voice Counterpoint
Quality of individual lines
Independence between the lines
Harmonic implications
Consonance versus dissonance
Two-Voice Exercises, 1:1, 2:1
Note against note (1:1)
Two notes against one (2:1)
Chromaticism (Two Voices)
Melodic versus harmonic usage
Chromatic spelling
Cross relations
Concerning two-voice chromatic exercises
Two-Voice Exercises (Concluded)
Three notes against one (3:1)
Four notes against one (4:1)
Syncopation (fourth species)
Fifth species
Rhythmic activity divided between the voices
Writing of Short Two-Voice Pieces
Reducing or increasing the number of voices
Varied repetition
The two-voice canon at the octave
Two-voice canons at other harmonic intervals
Concerning the writing of two-voice canons
Canons using special devices
The accompanied canon
Canons in three or more voices
The perpetual canon
The double canon
The enigma canon
The spiral canon
Invertible Counterpoint
Inversion at the octave
Inversion at intervals other than the octave
General principles involved in writing invertible counterpoint
Invertible counterpoint involving three or more voices
The Two-Part Invention; Motive Development
The motive
The imitation; the countermotive
The accompanying line
Possible plans of the initial announcements
Development through special devices
Middle entries
The final statements
Overall construction
Analysis of inventions
Three-Voice Counterpoint
Rhythmic relationships
Relative importance of voices
Harmonic considerations
Exercises in three-voice counterpoint
Writing of Short Pieces, Three Voices
Imitation in Three Voices
Real imitation
Tonal imitation
The writing of answers
The Three-Part Invention; the Trio Sonata
Exceptional features
Analysis of an entire invention
The trio sonata
Baroque duo sonatas of similar design
The subject
The answer
The three-voice fugue exposition
Four-voice counterpoint
The four-voice fugue exposition
The subject as related to the material that follows it
The subject as related to the answer; the stretto fugue
Special devices as used in the exposition
The counterexposition
Fugue (Continued)
Middle entries
Special devices as applied to the middle entries
The final portion
The fugue as a whole
The scholastic fugue
Other types of fugal design
Fugue (Concluded)
The five-voice fugue
Fugues of six or more voices
The two-voice fugue
The double fugue
The triple fugue
Fugues with more than three subjects
The fughetta and the fugato
The concert fugue
The fugue fantasia
The group fugue
Fugue writing as affected by the medium
Forms Based on the Chorale
The chorale prelude
Use of the chorale melody in various voices
Chorale variations
The chorale fantasia
The chorale fugue
Contrapuntal Variation Forms
Cantus firmus variation types: the ground, the passacaglia, and the chaconne
Theme and variations
Selected Bibliography