Author: Thomas BenjaminPublisher: Routledge
ISBN: 1135946639
Category : Art
Languages : en
Pages : 429
Book Description
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
The Craft of Tonal Counterpoint
Author: Thomas BenjaminPublisher: Routledge
ISBN: 1135946639
Category : Art
Languages : en
Pages : 429
Book Description
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
The Craft of Modal Counterpoint
Author: Thomas BenjaminPublisher: Psychology Press
ISBN: 9780415971713
Category : Counterpoint
Languages : en
Pages : 216
Book Description
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
The Craft of Modal Counterpoint
Author: Thomas BenjaminPublisher: Routledge
ISBN: 1135874387
Category : Music
Languages : en
Pages : 216
Book Description
"The Craft of Modal Counterpoint" is the companion book to Benjamin's "The Craft of Tonal Counterpoint," recently republished in a second edition by Routledge. Modal counterpoint is the style of composition that was employed until the "tonal" revolution pioneered by Bach; it is the basis for most Early Music. Benjamin, a composer and pedagogue, offers a complete analysis of this important musical style. He begins by covering general aspects of the style, then covers in detail two, three, and four-part counterpoint. The Motet, an important form of vocal composition in this period, is studied separately. The book concludes with a brief anthology of key scores, 15 in all, for the student to study further. Also includes 132 musical examples.
The Principles and Practice of Tonal Counterpoint
Author: Evan JonesPublisher: Routledge
ISBN: 1317518772
Category : Music
Languages : en
Pages : 283
Book Description
The Principles and Practice of Tonal Counterpoint is a comprehensive textbook that combines practical, "how-to" guidance in 18th-century techniques with extensive historical examination of contrapuntal works and genres. Beginning with an introductory grounding in species counterpoint, tonal harmony, and figured bass, students progress through the study of chorale preludes, invertible counterpoint, and canonic and fugal writing. This textbook thoroughly joins principle with practice, providing a truly immersive experience in the study of tonal counterpoint and familiarizing students with contrapuntal styles from the Baroque period to the 21st century. Also available is a companion volume, The Principles and Practice of Modal Counterpoint, which focuses on 16th-century techniques and covers modal music from Gregorian chant through the 17th century.
Tonal Counterpoint
Author: Walter Raymond SpaldingPublisher:
ISBN:
Category : Counterpoint
Languages : en
Pages : 280
Book Description
Tonal Counterpoint
Author: Walter Raymond SpaldingPublisher:
ISBN:
Category : Counterpoint
Languages : en
Pages : 258
Book Description
Tonal Counterpoint
Author: Kendall Durelle BriggsPublisher: Lulu.com
ISBN: 9781300067054
Category : Counterpoint
Languages : en
Pages : 582
Book Description
A new and unique approach to tonal counterpoint. The student is introduced to the secrets of counterpoint as practiced by the masters of the Baroque, Classical and Romantic periods.
Tonal Counterpoint
Author: Walter R. SpaldingPublisher: Createspace Independent Publishing Platform
ISBN: 9781541201217
Category :
Languages : en
Pages : 270
Book Description
From the PREFACE. On the subject of "Counterpoint," as that term is generally understood, this book does not profess to be an exhaustive treatise. Rather is it intended, as a practical textbook, to deal with the principles of free part-writing and to offer suggestions for the cultivation of such a musical instinct that wherever polyphony is desirable in composition the various parts shall be made interesting and truly melodious. It seems to the writer that at the present day the import of the word counterpoint is largely historical. Certainly the rules still in vogue in the majority of the books on counterpoint are those which were practiced when music was under the influence of the old modal system, was written almost exclusively, for voices, and long before the principles of rhythm and of tonality, so deeply implanted in our modern instrumental music, had come into existence at all. Moreover in these textbooks there is little to stimulate the imagination of the student or to develop a broad musical judgment. The subjects given, with their heterogeneous and unrhythmic collection of whole notes, seem at best merely to furnish opportunities for the acquisition of a rudimentary power of selection. But this selecting and grouping of the various chord-factors in the most effective way have already been taught the student during his course in harmony, - when that subject has been properly taught, that is, without a servile dependence upon the figured-bass system. In fact, whoever has been writing free exercises in harmony under competent instruction has also been writing counterpoint of a certain kind; that is, he has been making the separate voices as varied and melodious as possible. Every one will recognize the great discrepancy, in style between the counterpoint of the textbook and that of a Mozart String Quartet, a Beethoven Symphony, or even the contrapuntal accompaniment of a Franz song. There must of necessity be some difference; one is an exercise for the young student, the other the work of mature genius. Nevertheless the difference should be one rather of degree than actually of kind. In both exercise and work of creative imagination should be found the broad principles of all musical art; there should be life, spontaneity and freedom, and all the voices, whenever possible, should say something, except where a confessedly homophonic style is being used. In music, of all arts, "the letter killeth, but the spirit giveth life." Hence the writer has no sympathy with the arbitrary division of counterpoint into two classes, strict and free.
Tonal Counterpoint Third Edition
Author: Kendall Durelle BriggsPublisher: Lulu.com
ISBN: 9781329446335
Category : Art
Languages : en
Pages : 582
Book Description
Tonal Counterpoint is a study of counterpoint in the Common Practice focusing on the contrapuntal arts from the Baroque through the 19th Century. This book presents a step by step study of how to create imitation, canons and fugues of all types and varieties.
Tonal Counterpoint
Author: Walter R SpaldingPublisher:
ISBN: 9781713472414
Category :
Languages : en
Pages : 270
Book Description
On the subject of "Counterpoint," as that term is generally understood, this book does not profess to be an exhaustive treatise. Rather is it intended, as a practical textbook, to deal with the principles of free part-writing and to offer suggestions for the cultivation of such a musical instinct that wherever polyphony is desirable in composition the various parts shall be made interesting and truly melodious. It seems to the writer that at the present day the import of the word counterpoint is largely historical. Certainly the rules still in vogue in the majority of the books on counterpoint are those which were practiced when music was under the influence of the old modal system, was written almost exclusively, for voices, and long before the principles of rhythm and of tonality, so deeply implanted in our modern instrumental music, had come into existence at all. Moreover in these textbooks there is little to stimulate the imagination of the student or to develop a broad musical judgment. The subjects given, with their heterogeneous and unrhythmic collection of whole notes, seem at best merely to furnish opportunities for the acquisition of a rudimentary power of selection. But this selecting and grouping of the various chord-factors in the most effective way have already been taught the student during his course in harmony, - when that subject has been properly taught, that is, without a servile dependence upon the figured-bass system. In fact, whoever has been writing free exercises in harmony under competent instruction has also been writing counterpoint of a certain kind; that is, he has been making the separate voices as varied and melodious as possible. Every one will recognize the great discrepancy, in style between the counterpoint of the textbook and that of a Mozart Strng Quartet, a Beethoven Symphony, or even the contrapuntal accompaniment of a Franz song. There must of necessity be some difference; one is an exercise for the young student, the other the work of mature genius. Nevertheless the difference should be one rather of degree than actually of kind. In both exercise and work of creative imagination should be found the broad principles of all musical art; there should be life, spontaneity and freedom, and all the voices, whenever possible, should say something, except where a confessedly homophonic style is being used. In music, of all arts, "the letter killeth, but the spirit giveth life." Hence the writer has no sympathy with the arbitrary division of counterpoint into two classes, strict and free.