COUNTERPOINT THE POLYPHONIC VOCAL STYLE OF THE SIXTEENTH CENTURY PDF

Product Details This classic introductory text focuses on the polyphonic vocal style perfected by Palestrina. Unlike many other texts, it maintains a careful balance between theoretical and practical problems, between historical and systematic methodology. The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint. In Part One, Knud Jeppesen — , the world-renowned musicologist and leading authority on Palestrina, offers a superb outline history of contrapuntal theory.

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Jeppesen Counterpoint is a textbook on the polyphonic vocal style of the sixteenth century. But it is no ordinary textbook, because it maintains an unusually happy balance between theoretical and practical problems, between historical and systematic methodology. It is a practical manual designed for classroom use in teaching modal counterpoint, the logical successor of the old strict or academic counterpoint and at the same time it affords invaluable material for the musicological seminar in which style-critical problems are under consideration.

The present work is distinguished from the conventional treatise on counterpoint by its freedom from arbitrary rules and by its close adherence to a definite style period as a standard of reference. More and more, thoughtful musicians have come to realize that one cannot teach counterpoint "in general" without inviting endless controversy as to what is permissible and what is not.

Hence a textbook based upon sound scholarly research in the music of a great period in the history of the art brings welcome relief to the serious but perplexed student and teacher of counterpoint. The following suggestions may be helpful. Although the book is generously supplied with musical examples, students should be required to examine other works of the period for purposes of comparison and performance.

I have found the Laudate Pueri collection of sixteenth cen tury. Full access to this book and over 94, more Over 14 million journal, magazine, and newspaper articles Access to powerful writing and research tools Book details.

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Unlike many other texts, it maintains a careful balance between theoretical and practical problems, between historical and systematic methodology. The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint. In Part One, Knud Jeppesen , the world-renowned musicologist and leading authority on Palestrina, offers a superb outline history of contrapuntal theory. He begins by exploring the beginnings of contrapuntal theory from the ninth to the fourteenth centuries. This is followed by separate discussions of each succeeding century, the styles of Palestrina and Bach, the "Palestrina Movement" after Fux, and more. The section ends with illuminating coverage of notation, the ecclesiastical modes, melody, and harmony.

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COUNTERPOINT THE POLYPHONIC VOCAL STYLE OF THE SIXTEENTH CENTURY PDF

Notes offset against each other as suspensions ; All the first four species together, as "florid" counterpoint. Concerning the common practice era, alterations to the melodic rules were introduced to enable the function of certain harmonic forms. The combination of these melodies produced the basic harmonic structure, the figured bass. If the final is approached from below, then the leading tone must be raised in a minor key Dorian, Hypodorian, Aeolian, Hypoaeolian , but not in Phrygian or Hypophrygian mode. The ascending minor sixth must be immediately followed by motion downwards. If writing two skips in the same direction—something that must be only rarely done—the second must be smaller than the first, and the interval between the first and the third note may not be dissonant. The three notes should be from the same triad; if this is impossible, they should not outline more than one octave.

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