Request for consultation

Thanks for your request. You’ll soon be chatting with a consultant to get the answers you need.
{{formPostErrorMessage.message}} [{{formPostErrorMessage.code}}]
First Name is required. 'First Name' must contain at least 0 characters 'First Name' cannot exceed 0 characters Please enter a valid First Name
Last Name is required. 'Last Name' must contain at least 0 characters 'Last Name' cannot exceed 0 characters Please enter a valid Last Name
Institution is required.
Discipline is required.
Why are you contacting us today? is required. 'Why are you contacting us today?' must contain at least 0 characters 'Why are you contacting us today?' cannot exceed 0 characters Please enter a valid Why are you contacting us today?

Modal and Tonal Counterpoint: From Josquin to Stravinsky 1st Edition

Harold Owen

  • Published
  • 400 Pages

Harold Owen, University of Oregon

Preface.
PART ONE: INTRODUCTORY CONCEPTS.
1. The Nature of Polyphonic Music: Terms and General Concepts.
2. Polyphony and Style: A Comparison of Examples From the Fourteenth to the Twentieth Centuries.
PART TWO: COUNTERPOINT IN THE LATE RENAISSANCE (1500-1600).
3. Two-Part Counterpoint: Basic Principles of Sixteenth-Century Style.
4. Two-Part Counterpoint: First and Second Species Counterpoint.
5. Two-Part Counterpoint: Third, Fourth, and Fifth Species.
6. Two-Part Motets: Setting of Text; Formal Considerations.
7. Two-Part Secular Music: Instrumental Duo; Canzonet.
8. Three-Part Counterpoint: Motet; Canzonet; Fantasia.
9. Four-Part Counterpoint: Dance Variations; Motet; Madrigal.
10. Polyphony in More Than Four Parts.
PART THREE: COUNTERPOINT IN THE EARLY BAROQUE (1600-1700).
11. Stylistic Innovations: The Basso Continuo; the Emergence of Tonality; New Uses of Dissonance; Chromaticism.
12. Continuous Variations: Ground Bass; Chaconne; and Passacaglia.
13. Trio Texture: Two Trebles With Continuo.
14. Predecessors of the Fugue: Canzona; Ricercar; Fantasia; and Choral Fugato. PART FOUR: COUNTERPOINT IN THE LATE BAROQUE (1700-1750).
15. Review of Basic Concepts and Introduction to Eighteenth-Century Counterpoint.
16. Polyphonic Style in 1700: Melodic, Harmonic, and Temporal Considerations; Polyphonic Textures.
17. Cantus Firmus Compositions: The Chorals Prelude.
18. Invention: Bach's Two-Part Inventions.
19. Three-Part Counterpoint: Bach's Sinfonia's.
20. Canon: Two-Part Canon; Accompanied Canon; Canonic Chorale.
21. Fugue I: Overview; Subject and Response; Countersubject.
22. Fugue II: The Exposition in Three and Four Parts.
23. Fugue III: Development; Episodes; Contrapuntal Techniques and Devices; Stretto; Concluding Techniques.
24. Genres Using Fugal Technique: Gigue; Fugal Sonata Movement; Fugal Chorus. PART FIVE: POLYPHONY IN THE CLASSICAL AND ROMANTIC ERAS (1750-1900). 25. Polyphony in the Classical Era: Counterpoint in Haydn, Mozart, and Beethoven.
26. Polyphony in the Romantic Era: Counterpoint in Mendelssohn, Brahms, Franck, and Others.
PART SIX: POLYPHONY IN THE FIRST HALF OF THE TWENTIETH CENTURY.
27. Serial and Atonal Counterpoint.
28. Counterpoint in Hindemith, Bartok, and Stravinsky.
Appendix A: Identification of Examples in Chapter 1.
Appendix B: The Ecclesiastical Modes and the Hexacord System.
Appendix C: A Guide to the Interpretation of Figured Bass Symbols.
Glossary.
Discography.
Selected Bibliography.
List of Musical Examples for Discussion.
Index.