A manual of counterpoint based on sixteenth-century practice / by David D. Boyden.
| Author/creator | Boyden, David D. |
| Format | Book |
| Edition | Revised edition. |
| Publication Info | New York : Carl Fischer, ©1953. |
| Description | 2 volumes (93 pages) ; 26 cm |
| Subjects |
| Contents | v. 1. Text -- v. 2. Supplement: "Musical examples." |
| Contents | [v. 1.] Introduction: Harmonic and melodic intervals -- Part one: Melody. Melodic writing in general -- Melodic intervals used in the 16th century -- Scale and mode ; Transpositions and keys ; Modes used in the 16th century -- Part two: Two-part counterpoint. Survey of the problems -- Species in general -- Species in particular: first species. Harmonic intervals ; Types of motion ; Adding the counterpoint to the cantus firmus (General problems ; Particulars) -- Second species -- Third species (traditional fourth species). Treatment and suspension ; Additional remarks -- Fourth species (traditional third species): particulars, including passing and auxiliary notes -- Fifth species. Eighth notes ; The appoggiatura ; The anticipation ; Ornamental resolutions ; Cadences -- Free writing. Rhythm and meter ; Rhythmic patterns -- Stages of complexity in free writing. New possibilities in first two stages (Composite rhythm ; Suspension in triple meter ; Dissonant combinations ; Resolutions ; Cross relations) ; Imitation, strict and free ; The canon -- The motet. Cadences ; Connection of sections ; Relation of the voices ; Setting the text -- Part three: Three-part counterpoint. Species in three parts. First species (Rule of the harmonic fourth ; Relation of the three parts ; Final cadences ; Hidden fifths and octaves ; Chord composition ; Spacing ; Beginnings and endings) ; Other species (Second species ; Third species ; Fourth species ; Fifth species: the cambiata ; Mixed species) -- Free writing (The consonant fourth ; Relation of the voices ; Harmonies per measure ; Dissonant combinations ; Types of movement between two dissonant voices ; Cadences: final and otherwise) ; Motets in three parts -- Introduction to four-part counterpoint -- Appendix A. Categories of dissonance ; Appendix B. Sixteenth-century vocal forms ; Translations and notes for 16th century compositions in supplement. |
| Contents | [v. 2.] Supplement. Music examples referred to in text -- 16th-century compositions. For two voices. Lassus: Oculus non vidit (Motet) ; Lassus: Expandi manus (Motet) ; Zarlino: (Motet) textless ; Morley: Leave now mine eyes lamenting (Canzonet) -- For three voices. Victoria: Dies irae (from Requiem mass) ; Wilbye: Fly love aloft (Madrigal) ; Palestrina: Benedictus (from Missa ad fugam) ; Lassus: O Maria, clausus hortus (Motet) -- For four voices. Victoria: Kyrie (from Missa Dominicalis) ; Palestrina: Veni sancte spiritus (sequence). |
| General note | "Supplement: Music examples" (pages 51-93). |
| LCCN | a 54000469 |
| Publisher number | O3757 Carl Fischer |