Tools

LEADER 05209cam 2200373 a 4500

001 ocm23462617;

003 OCoLC;

005 20141212102727.0;

008 910320s1992 nyua bk 001 0 eng ;

010 a| 91004775;

020 a| 0028721454 (alk. paper);

035 a| (Sirsi) o23462617;

035 a| (OCoLC)23462617;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| MT55b| .O97 1992;

082 00 a| 781.2/86/092| 20;

092 a| 781.28609b| Ow2m;

100 1 a| Owen, Harold,d| 1931-=| ^A1200012;

245 10 a| Modal and tonal counterpoint :b| from Josquin to Stravinsky /c| Harold Owen.;

300 a| x, 389 pages :b| illustrations ;c| 28 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 375-377), discography (pages 371-374) and index.;

505 0 a| Preface. PART ONE: INTRODUCTORY CONCEPTS. 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.;

520 a| This is a comprehensive study of the development of counterpoint form the sixteenth century through the first half of the twentieth century. Featuring a discovery approach, the text emphasizes creativity and intuition over mechanical application of rules, enabling each student to gain a conceptual understanding of the fundamental principles of counterpoint. Deriving the rules of counterpoint from the music itself, each chapter begins with a complete musical example followed by questions for class discussion. Chapter observations and subsequent musical examples amplify the concepts discoverd through individual analysis. The chapters on modal counterpoint feature both instrumental and traditional vocal models, and the chapters on tonal counterpoint feature music for chorus and larger ensembles as well as traditional keyboard examples. This book surveys five centures of counterpoint in a historical and stylistic framework; combines a text, anthology, and workbook in one volume; offers over 70 complete examples from the literature in a balanced and varied anthology; features numerous graded exercises from simple tasks to challenging compositions; provides end-of-chapter lists of scores and sources for further study, an extensive glossary, a selected annotated bibliography, and a discography.;

650 0 a| Counterpoint.=| ^A16572;

650 0 a| Counterpointx| History.=| ^A991137;

590 a| Little-310579--305131023742V;

596 a| 3 5;

998 a| 492681;

999 a| MT55 .O97 1992w| LCc| 1i| 30372008123116d| 9/12/2024e| 9/11/2024f| 7/23/2024g| 5l| MCOSm| JMUSICn| 23p| $32.95r| Ys| Yt| MCOSBKu| 11/17/1993x| BOOKz| MCIRCo| .STAFF. Dr. Amy Carr-Richardson: MUSC 4327/6327, -kajc;

Modal and tonal counterpoint : from Josquin to Stravinsky / Harold Owen.

Author/creator	Owen, Harold, 1931-
Format	Book
Publication Info	New York : Schirmer Books ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International, ©1992.
Description	x, 389 pages : illustrations ; 28 cm
Subjects	Counterpoint. Counterpoint--History.

Contents	Preface. PART ONE: INTRODUCTORY CONCEPTS. 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.
Abstract	This is a comprehensive study of the development of counterpoint form the sixteenth century through the first half of the twentieth century. Featuring a discovery approach, the text emphasizes creativity and intuition over mechanical application of rules, enabling each student to gain a conceptual understanding of the fundamental principles of counterpoint. Deriving the rules of counterpoint from the music itself, each chapter begins with a complete musical example followed by questions for class discussion. Chapter observations and subsequent musical examples amplify the concepts discoverd through individual analysis. The chapters on modal counterpoint feature both instrumental and traditional vocal models, and the chapters on tonal counterpoint feature music for chorus and larger ensembles as well as traditional keyboard examples. This book surveys five centures of counterpoint in a historical and stylistic framework; combines a text, anthology, and workbook in one volume; offers over 70 complete examples from the literature in a balanced and varied anthology; features numerous graded exercises from simple tasks to challenging compositions; provides end-of-chapter lists of scores and sources for further study, an extensive glossary, a selected annotated bibliography, and a discography.
Local note	Little-310579--305131023742V
Bibliography note	Includes bibliographical references (pages 375-377), discography (pages 371-374) and index.
LCCN	91004775
ISBN	0028721454 (alk. paper)

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Music	Course Reference	MT55 .O97 1992	✔ Available

Modal and tonal counterpoint : from Josquin to Stravinsky / Harold Owen.

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