Advertisement
| contrapuntal style: A History of Baroque Music George J. Buelow, 2004-11-23 A History of Baroque Music is a detailed treatment of the music of the Baroque era, with particular focus on the seventeenth century. The author's approach is a history of musical style with an emphasis on musical scores. The book is divided initially by time period into early and later Baroque (1600-1700 and 1700-1750 respectively), and secondarily by country and composer. An introductory chapter discusses stylistic continuity with the late Renaissance and examines the etymology of the term Baroque. The concluding chapter on the composer Telemann addresses the stylistic shift that led to the end of the Baroque and the transition into the Classical period.--Jacket. |
| contrapuntal style: Contrapuntal Harmony for Beginners C. H. Kitson, 2016-12-21 This vintage book contains a comprehensive guide to contrapuntal motion. In music theory, contrapuntal motion is the movement of two melodic lines in relation to each other. In standard four-part harmony, it is imperative that the lines remain independent - a result that can be maintained through the use of the four types of contrapuntal motion: similar motion, contrary motion, parallel motion, and oblique motion. Written in clear, plain language and full of interesting and useful information, this text is ideal for those with little previous musical knowledge, and will be of considerable utility to students. The chapters of this book include: Two-Part Writing (Harmony Notes Only), Unaccented Diatonic Passing Notes used Singly, Accented Passing Notes Used Singly, Simultaneous Combined Unessential Notes, Simultaneous Use of Harmony and Unessential Notes, Two Notes to One Combined with a Longer Note, Applied Technique, etcetera. This book is being republished in an affordable, high-quality, modern edition - complete with a specially commissioned new biography of the author. |
| contrapuntal style: Convertible Counterpoint Serge I. Taneiev, Taneiev, 1962-12 Serge Ivanovitch Taneiev was a great teacher of composition in Russia, having taught the great Russian composers and influenced scores of other musicians. Names like Serge Rachmaninoff, Leonid Sabaneiev, Lazare Saminsky, Walter Piston, Philip Greely Clapp, Igor Stravinsky, Tchaikofsky, and Serge Koussevitzky, who wrote the Introduction to this large volume. Music scholars who are acquainted with the Convertible Counterpoint of Serge Ivanovitch Taneiev consider it the greatest work ever written in its field. |
| contrapuntal style: Arranging Concepts Dick Grove, 1985 A comprehensive text that covers the characteristics and ranges of each instrument in the stage band; analyzing and arranging many musical styles, voice leading, passing chords, modulations, intros, endings, turn-arounds and orchestration. The comb binding creates a lay-flat book that is perfect for study and performance. |
| contrapuntal style: Basic Contrapuntal Techniques H. Owen Reed, Greg A. Steinke, Paul O. Harder, 2003 A revision of the classic 1964 edition exploring counterpoint techniques beyond the stylistic base of the baroque tradition. This practical 194-page book contains a glossary of terms, a bibliography for further study, and a subject index. There is also an index of musical examples, and the included CDs contain recordings of musical examples from the text. Includes perforated exercise pages for students. |
| contrapuntal style: The Craft of Modal Counterpoint Thomas Benjamin, 2005 First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company. |
| contrapuntal style: The Principles and Practice of Tonal Counterpoint Evan Jones, 2015-08-27 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. |
| contrapuntal style: Guitar For Dummies Mark Phillips, Jon Chappell, 2011-05-23 Have you always wanted to play guitar? Who wouldn't? Think of Jimi Hendrix wailing away on his Stratocaster. . . Chuck Berry duck-walking across the stage to Johnny B. Goode. . .B.B. King making his Lucille cry the blues. No doubt about it—guitars are cool. Guitar For Dummies 2nd Edition tells you everything a beginning or intermediate guitarist needs to know: from buying a guitar to tuning it, playing it, and caring for it, this book has it all—and you don't even need to know how to read music. Full of photo-illustrated exercises and songs you can play to practice the techniques discussed in each section, this step-by-step guide will take you through the basics and beyond before you can say Eric Clapton. You'll learn how to: Match yourself with the guitar and equipment that fits your needs and budget Select the right accessories: amps, picks, pedals, capos, cases, and other goodies Pick and strum to produce a clean, clear, buzz-free tone Know whether you're really in tune Play melodies without reading music Perform basic guitar maintenance and repairs Build strength and dexterity while playing Play in different styles, including rock, blues, folk, jazz, and classical Make your guitar talk with bends and slides! Fully revised and updated, with an all new interactive CD that allows readers to listen, learn, tune, and play along, Guitar For Dummies 2nd Edition is the perfect introductory guide for any novice acoustic or electric guitar player. Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file. |
| contrapuntal style: The Principles and Practice of Modal Counterpoint Douglass Green, Evan Jones, 2010-11-01 Covering modal music from Gregorian chant through the seventeenth-century, The Principles and Practice of Modal Counterpoint is a comprehensive textbook combining stylistic composition, theory and analysis, music history, and performance. By supplementing a modified species approach with a wealth of complete musical examples and historical information, this textbook thoroughly joins principle with practice, providing a truly immersive experience in the study of modal counterpoint and familiarizing students with modal repertoire. |
| contrapuntal style: A Manual of Sixteenth-century Contrapuntal Style Charlotte Smith, 1989 This volume explores the expressive power of sixteenth-century vocal polyphony, giving special emphasis to the development of aural familiarity with the style. Every element of sixteenth-century counterpoint is defined, described, and liberally illustrated, included for analysis and singing are complete compositions and movements by Palestrina, Lasso, Victoria, Byrd, Morales, and Joaquin. |
| contrapuntal style: Examples Illustrating the Development of Melodic Line and Contrapuntal Style, from Greek Melody to Mozart ... , 1932 |
| contrapuntal style: Elements of harmony and counterpoint Francis William Davenport (professor of harmony.), 1887 |
| contrapuntal style: Counterpoint George Alexander Macfarren, 1879 |
| contrapuntal style: Tonal Counterpoint Walter R. Spalding, 2019-11-30 Attention is particularly called to the fact that very few rules are given as to what not to do in music. Almost anything can be done at some time or other (for music is not a matter of morals), when for the sake of special effect a departure is made from the normal rules. What is needed is a well-trained instinct as to whether any given effect justifies itself. In no way is this power gained so surely or quickly as by a thorough study of the compositions of the great masters, Bach, Handel, Haydn, Mozart, Beethoven, and others. No one ever becomes a geologist merely by the study of books on the subject but rather by going out into the fields and examining the works of nature at first hand. Likewise in music, example is much better than precept. Very few prohibitive rules will be found in this book, and as far as possible every suggestion and recommendation is confirmed and illustrated by an example from some standard composer. |
| contrapuntal style: Teaching Approaches in Music Theory Michael R. Rogers, 2004 Drawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers's diverse survey of music theory--one of the first to comprehensively survey and evaluate the teaching styles, techniques, and materials used in theory courses--is a unique reference and research tool for teachers, theorists, secondary and postsecondary students, and for private study. This revised edition of Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies features an extensive updated bibliography encompassing the years since the volume was first published in 1984. In a new preface to this edition, Rogers references advancements in the field over the past two decades, from the appearance of the first scholarly journal devoted entirely to aspects of music theory education to the emergence of electronic advances and devices that will provide a supporting, if not central, role in the teaching of music theory in the foreseeable future. With the updated information, the text continues to provide an excellent starting point for the study of music theory pedagogy. Rogers has organized the book very much like a sonata. Part one, Background, delineates principal ideas and themes, acquaints readers with the author's views of contemporary musical theory, and includes an orientation to an eclectic range of philosophical thinking on the subject; part two, Thinking and Listening, develops these ideas in the specific areas of mindtraining and analysis, including a chapter on ear training; and part three, Achieving Teaching Success, recapitulates main points in alternate contexts and surroundings and discusses how they can be applied to teaching and the evaluation of design and curriculum. Teaching Approaches in Music Theory emphasizes thoughtful examination and critique of the underlying and often tacit assumptions behind textbooks, materials, and technologies. Consistently combining general methods with specific examples and both philosophical and practical reasoning, Rogers compares and contrasts pairs of concepts and teaching approaches, some mutually exclusive and some overlapping. The volume is enhanced by extensive suggested reading lists for each chapter. |
| contrapuntal style: The Keyboard Music of J.S. Bach David Schulenberg, 2013-05-13 The Keyboard Music of J.S. Bach provides an introduction to and comprehensive discussion of all the music for harpsichord and other stringed keyboard instruments by Johann Sebastian Bach (1685-1750). Often played today on the modern piano, these works are central not only to the Western concert repertory but to musical pedagogy and study throughout the world. Intended as both a practical guide and an interpretive study, the book consists of three introductory chapters on general matters of historical context, style, and performance practice, followed by fifteen chapters on the individual works, treated in roughly chronological order. The works discussed include all of Bach's individual keyboard compositions as well as those comprising his famous collections, such as the Well-Tempered Clavier, the English and French Suites, and the Art of Fugue. |
| contrapuntal style: Juan Esquivel Clive Walkley, 2010 First study of Juan Esquivel, a highly significant figure in Spanish musical life in the late sixteenth and early seventeenth centuries. Juan Esquivel was a cathedral choirmaster and composer, active in Spain during the period c.1580-c .1623 in which all aspects of the arts flourished, and one of the few peninsular composers of his generation to see his works published. He is known to have produced three large volumes of sacred polyphony - masses, motets, hymns, psalms, magnificats, and Marian antiphons - under the titles Liber primus missarum, Motecta festorum([both published 1608)and Tomus secondus, psalmorum, hymnorum... et missarum (published 1613); they reveal him to be a highly skilled craftsman. This first full-length study of his life and works presents a critical assessment of the man and his music, setting him within the social and religious context of the so-called Counter-Reformation. Beginning by outlining the facts of his life, the book goes on to offer an analysis and assessment of his output. Clive Walkley was until his retirement a lecturer in music and music education at Lancaster University. |
| contrapuntal style: Counterpoint Sir George Alexander Macfarren, 1886 |
| contrapuntal style: Music Theory and Analysis in the Writings of Arnold Schoenberg (1874–1951) Norton Dudeque, 2017-07-05 Arnold Schoenberg's theory of music has been much discussed but his approach to music theory needs a new historical and theoretical assessment in order to provide a clearer understanding of his contributions to music theory and analysis. Norton Dudeque's achievement in this book involves the synthesis of Schoenberg's theoretical ideas from the whole of the composer's working life, including material only published well after his death. The book discusses Schoenberg's rejection of his German music theory heritage and past approaches to music-theory pedagogy, the need for looking at musical structures differently and to avoid aesthetic and stylistic issues. Dudeque provides a unique understanding of the systematization of Schoenberg's tonal-harmonic theory, thematic/motivic-development theory and the links with contemporary and past music theories. The book is complemented by a special section that explores the practical application of the theoretical material already discussed. The focus of this section is on Schoenberg's analytical practice, and the author's response to it. Norton Dudeque therefore provides a comprehensive understanding of Schoenberg's thinking on tonal harmony, motive and form that has hitherto not been attempted. |
| contrapuntal style: Critical and Historical Program of the Madrigals, Glees, and Songs to be Given at the Second Annual Musical Entertainment at University College, London, on Friday, 9th May, 1884, at 8 P. M. , 1884 |
| contrapuntal style: Publications New Shakspere Society, 1884 |
| contrapuntal style: An Encyclopaedia of Translation Sin-wai Chan, David E. Pollard, 2001 Language-specific entries relate to the interaction between the Chinese-speaking and English-speaking communities of Hong Kong. At the same time, the work draws on Western knowledge and experience with translation studies in general. This book is a valuable reference for translators, scholars, and students of translation studies. |
| contrapuntal style: Critical and Historical Program of the Madrigals, Glees, and Songs New Shakspere Society (Great Britain), 1884 |
| contrapuntal style: The Craft of Musical Composition Paul Hindemith, 2024-09-04 Originally published in the 1940s, Paul Hindemith's remarkable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that many years later these books should remain essential reading for the student and the professional musician. Parts 1 and 2 of Unterweisung im Tonsatz were already translated into English during Hindemith's lifetime, when he was in exile in America during the Nazi era. The long-awaited translation of Part 3 with exercises for three-part composition completes the English edition The Craft of Musical Composition. |
| contrapuntal style: The Music Sound Nicolae Sfetcu, 2014-05-07 A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music. |
| contrapuntal style: Bach Perspectives, Volume 9 Andrew Talle, 2013-12-16 This provocative addition to the Bach Perspectives series offers a counternarrative to the isolated genius status that J. S. Bach and his music currently enjoy. Contributors contextualize Bach by examining the output, reputation, and compositional practices of his contemporaries in Germany whose work was widely played and enjoyed in his time, including Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Essays place Bach and his work in relation to his peers, examining avenues of composition they took while he did not and showing how differing treatments of the same subjects or texts resulted in markedly different compositional results and legacies. By looking closely at how Bach's contemporaries addressed the tasks and challenges of their time, this project provides a more nuanced view of the musical world of Bach's time while revealing in more specific terms than ever how and why Bach's own music remains fresh and compelling. In this volume, Wolfgang Hirschmann proposes an ethnographic approach that contextualizes Bach's works, addressing the aesthetic paths he took as well as those he did not pursue. Steven Zohn's essay considers Telemann's contribution to the orchestral Ouverture genre, observering how Telemann's approach to integrating the national styles of his time was quite different from, but no less rich than, Bach's. Andrew Talle compares settings and strategies of Vergnügte Ruh, beliebte Seelenlust by Bach and Graupner. Alison Dunlop presents valuable primary research on Muffat, the most commonly cited keyboard music composer in Vienna during Bach's lifetime. Finally, Michael Maul sheds new light on the Scheibe-Birnbaum controversy, contextualizing the most famous critique of J. S. Bach's compositional style by discussing the other composers that Scheibe critiqued. |
| contrapuntal style: A Dictionary of Music and Musicians George Grove, John Alexander Fuller-Maitland, 1890 |
| contrapuntal style: A Dictionary of Music and Musicians (A.D. 1450-1889) by Eminent Writers, English and Foreign George Grove, 1879 |
| contrapuntal style: A Dictionary of Music and Musicians (A.D. 1450-1889) George Grove, John Alexander Fuller-Maitland, 1890 |
| contrapuntal style: A Dictionary of Music and Musicians (A.D. 1450-1880) by Eminent Writers, English and Foreign George Grove, John Alexander Fuller-Maitland, Adela H. Wodehouse, 1879 |
| contrapuntal style: The Viennese Minor-key Symphony in the Age of Haydn and Mozart Matthew Riley, 2014 In late eighteenth-century Vienna and the Habsburg territories, over 50 minor-key symphonies were written. Their distinctive stormy character, nervous energy and intense pathos make them a unique phenomenon. This book combines historical and analytical perspectives, and places the famous works of Haydn and Mozart alongside lesser-known compositions. |
| contrapuntal style: A Note on Musical Styles Lloyd Hibberd, 1958 |
| contrapuntal style: Traditional Harmony Paul Hindemith, 2020-10-01 Originally published in the 1940s, Paul Hindemith's remarkable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician. |
| contrapuntal style: Debussy's Legacy and the Construction of Reputation Marianne Wheeldon, 2017-05-29 Today, Claude Debussy's position as a central figure in twentieth-century concert music is secure, and scholarship has long taken for granted the enduring musical and aesthetic contributions of his compositions. Yet this was not always the case. Unknown to many concert-goers and music scholars is the fact that for years after his death, Debussy's musical aesthetic was perceived as outmoded, decadent, and even harmful for French music. In Debussy's Legacy and the Construction of Reputation, Marianne Wheeldon examines the vicissitudes of the composer's posthumous reception in the 1920s and 30s, and analyzes the confluence of factors that helped to overturn the initial backlash against his music. Rather than viewing Debussy's artistic greatness as the cause of his enduring legacy, she considers it instead as an effect, tracing the manifold processes that shaped how his music was received and how its aesthetic worth was consolidated. Speaking to readers both within and beyond the domain of French music and culture, Debussy's Legacy and the Construction of Reputation enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. By analyzing the cultural forces that came to bear on the formation of Debussy's legacy, Wheeldon contributes to a greater understanding of the inter-war period--the cultural politics, debates, and issues that confronted musicians in 1920s and 30s Paris--and offers a musicological perspective on the subject of reputation building, to date underrepresented in recent writings on reputation and commemoration in the humanities. Debussy's Legacy and the Construction of Reputation is an important new study, groundbreaking in its methodology and in its approach to musical influence and cultural consecration. |
| contrapuntal style: Schoenberg's Program Notes and Musical Analyses J. Daniel Jenkins, 2016-03-07 In 1950, as Arnold Schoenberg anticipated the publication of a collection of 15 of his most important writings, Style and Idea, he was already at work on a second volume to be called Program Notes. Inspired by this idea, Schoenberg's Program Notes and Musical Analyses can boast the most comprehensive study of the composer's writings about his own music yet published. Schoenberg's insights emerge not only in traditional program notes, but also in letters, sketch materials, pre-concert talks, public lectures, contributions to scholarly journals, newspaper articles, interviews, pedagogical materials, and publicity fliers. The editions of the texts in this collection, based almost exclusively on Schoenberg's original manuscript sources, include many items appearing in print in English for the first time, as well as more familiar texts that preserve musical and textual information eliminated from previous editions. The book also reveals how Schoenberg, desirous to communicate with and educate an audience, took every advantage of changes in technology during his lifetime, utilizing print media, radio broadcasts, record jackets--and had he lived, television--for this purpose. In addition to four chapters in which Schoenberg illuminates 42 of his own compositions, the book begins with chapters on his development and influences, his thoughts about trends in modern music, and, in a nod to the importance of the radio in providing a venue for music analysis, a chapter about Schoenberg's radio broadcasts. |
| contrapuntal style: The History of Pianoforte Music Herbert Westerby, 2024-11-01 Originally published in 1924, and authored by a renowned pianist and musicologist, this book is a comprehensive study of the history and evolution of pianoforte music from its origins in the early 18th century to modern times. The book begins with a discussion of sixteenth-century English composers for the virginal. Special emphasis is given to works of the Romantic period and to national styles of piano music such as those of Chopin and the Polish school, Liszt and Magyar music, and Cesar Franck and music of The Netherlands. The book provides a bibliography and lists of major collective editions, publishers of piano music throughout the world, and journals for pianists. |
| contrapuntal style: Musical Aesthetics: The twentieth century Edward A. Lippman, 1986 Musical aesthetics in this century--like music itself--is distinguished by its concern with specifically musical forms and principles-with the interrelationships and transformation of motifs with the permutations of sets of tones with the characteristics of forms such as the fugue or sonata and with underlying or background structures that are not really audible themselves but that nevertheless are important determinants of the form and sense of the music. Thus music and musical thought i n this century have been significantly determined by a reaction against the predominating qualities and values of the 19th century; musical hermeneutics symbolism and semiotics having replaced the traditional problem of emotional content. This volume is the third of three which are designed to present the main trends of Western musical thought in the area of philosophy and aesthetics. Each section of the work presenting the fundamental statements of a given aesthetic issue has its own brief introduction defining and interrelating the relevant ideas; the various sections seek to clarify the underlying historical continuities of thought. Each also concludes with its own bibliography. |
| contrapuntal style: The Renaissance in Italy (Complete 7 Volumes) John Addington Symonds, 2022-12-10 John Addington Symonds' monumental work, The Renaissance in Italy, encompasses a comprehensive seven-volume exploration of one of the most transformative periods in Western history. Rich in literary style, Symonds masterfully blends biographical sketches, critical analysis, and vivid historical narrative to elucidate the intellectual, cultural, and artistic upheavals that defined the Italian Renaissance. His erudite prose is characterized by a deep appreciation for individual artists and thinkers, bringing to life the nuanced interplay between humanism, art, and society within the socio-political milieu of 14th to 17th-century Italy. Symonds, a Victorian-era scholar and poet, was profoundly influenced by his own experiences as a researcher and art historian. His passion for Italy—fueled by extensive travels and his pioneering interest in the gay cultural history—imbued his writings with a distinct fervor and insight. Symonds faced societal constraints regarding his sexual identity, which lent a unique perspective to his assessments of Renaissance artistry and its connection to broader themes of human expression, freedom, and identity. This comprehensive treatise is an essential read for anyone interested in the Renaissance, art history, or cultural studies. Symonds' meticulous research and evocative storytelling not only illuminate the era's monumental achievements but also inspire readers to appreciate the enduring legacy of human creativity and thought. |
| contrapuntal style: Italian Renaissance John Addington Symonds, 2020-12-17 Renaissance in Italy is one of the best-known works by John Addington Symonds. This carefully edited collection has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Table of contents. Volume 1: The Spirit of the Renaissance Italian History The Age of the Despots The Republics The Florentine Historians 'The Prince' of Machiavelli The Popes of the Renaissance The Church and Morality Savonarola Charles VIII… Volume 2: The Men of the Renaissance First Period of Humanism Second Period of Humanism Third Period of Humanism Fourth Period of Humanism Latin Poetry… Volume 3: The Problem for the Fine Arts Architecture Painting Venetian Painting Life of Michael Angelo Life of Benvenuto Cellini The Epigoni… Volume 4: The Origins The Triumvirate The Transition Popular Secular Poetry Popular Religious Poetry Lorenzo De' Medici and Poliziano Pulci and Boiardo Ariosto… Volume 5: The Orlando Furioso The Novellieri The Drama Pastoral and Didactic Poetry The Purists Burlesque Poetry and Satire Pietro Aretino History and Philosophy… Volume 6-7: The Spanish Hegemony The Papacy and the Tridentine Council The Inquisition and the Index The Company of Jesus Social and Domestic Morals Torquato Tasso The Gerusalemme Liberata Giordano Bruno Fra Paolo Sarpi Guarini, Marino, Chiabrera, Tassoni Palestrina and the Origins of Modern Music The Bolognese School of Painters… |
| contrapuntal style: Renaissance in Italy (Vol. 1-7) John Addington Symonds, 2020-06-12 Renaissance in Italy is one of the best-known works by John Addington Symonds. This carefully crafted e-artnow ebook is formatted for your eReader with a functional and detailed table of contents._x000D_ Volume 1:_x000D_ The Spirit of the Renaissance_x000D_ Italian History_x000D_ The Age of the Despots_x000D_ The Republics_x000D_ The Florentine Historians_x000D_ 'The Prince' of Machiavelli_x000D_ The Popes of the Renaissance_x000D_ The Church and Morality_x000D_ Savonarola_x000D_ Charles VIII…_x000D_ Volume 2:_x000D_ The Men of the Renaissance_x000D_ First Period of Humanism _x000D_ Second Period of Humanism _x000D_ Third Period of Humanism _x000D_ Fourth Period of Humanism _x000D_ Latin Poetry…_x000D_ Volume 3:_x000D_ The Problem for the Fine Arts_x000D_ Architecture_x000D_ Painting_x000D_ Venetian Painting_x000D_ Life of Michael Angelo_x000D_ Life of Benvenuto Cellini_x000D_ The Epigoni…_x000D_ Volume 4:_x000D_ The Origins_x000D_ The Triumvirate_x000D_ The Transition_x000D_ Popular Secular Poetry_x000D_ Popular Religious Poetry_x000D_ Lorenzo De' Medici and Poliziano_x000D_ Pulci and Boiardo_x000D_ Ariosto…_x000D_ Volume 5:_x000D_ The Orlando Furioso_x000D_ The Novellieri_x000D_ The Drama_x000D_ Pastoral and Didactic Poetry_x000D_ The Purists_x000D_ Burlesque Poetry and Satire_x000D_ Pietro Aretino_x000D_ History and Philosophy…_x000D_ Volume 6-7:_x000D_ The Spanish Hegemony_x000D_ The Papacy and the Tridentine Council_x000D_ The Inquisition and the Index_x000D_ The Company of Jesus_x000D_ Social and Domestic Morals_x000D_ Torquato Tasso_x000D_ The Gerusalemme Liberata_x000D_ Giordano Bruno_x000D_ Fra Paolo Sarpi_x000D_ Guarini, Marino, Chiabrera, Tassoni_x000D_ Palestrina and the Origins of Modern Music_x000D_ The Bolognese School of Painters… |
CONTRAPUNTAL Definition & Meaning - Merriam-Webster
The meaning of CONTRAPUNTAL is polyphonic.
Counterpoint - Wikipedia
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and …
CONTRAPUNTAL | English meaning - Cambridge Dictionary
CONTRAPUNTAL definition: 1. Contrapuntal music has two or more separate tunes that are played or sung at the same time. 2…. Learn more.
Contrapuntal - definition of contrapuntal by The Free Dictionary
contrapuntal - relating to or characteristic of or according to the rules of counterpoint; "contrapuntal base" 2. contrapuntal - having two or more independent but harmonically related …
Contrapuntal vs. Polyphonic - What's the Difference? | This vs. That
Contrapuntal and polyphonic are both musical techniques that involve the interweaving of multiple independent melodies or voices. However, the main difference between the two lies in their …
What does contrapuntal mean? - Definitions.net
Contrapuntal refers to a type of music composition in which two or more relatively independent and harmonically interdependent melodies are played or sung together. It is the technique of …
contrapuntal, adj. meanings, etymology and more - Oxford English …
What does the adjective contrapuntal mean? There are three meanings listed in OED's entry for the adjective contrapuntal . See ‘Meaning & use’ for definitions, usage, and quotation evidence.
Contrapuntal Definition & Meaning - YourDictionary
Contrapuntal definition: Of, relating to, or incorporating counterpoint.
contrapuntal - Wiktionary, the free dictionary
Jan 2, 2025 · contrapuntal (comparative more contrapuntal, superlative most contrapuntal) Of or in counterpoint. Of or relating to counterpoint. (music, of a piece of music) With two or more …
Contrapuntal - Definition, Meaning & Synonyms - Vocabulary.com
Anything contrapuntal has to do with counterpoint, which is a type of music that has two melodic lines played at the same time. Many kinds of music (such as rock and country) are very simple, …
CONTRAPUNTAL Definition & Meaning - Merriam-Webster
The meaning of CONTRAPUNTAL is polyphonic.
Counterpoint - Wikipedia
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and …
CONTRAPUNTAL | English meaning - Cambridge Dictionary
CONTRAPUNTAL definition: 1. Contrapuntal music has two or more separate tunes that are played or sung at the same time. 2…. Learn more.
Contrapuntal - definition of contrapuntal by The Free Dictionary
contrapuntal - relating to or characteristic of or according to the rules of counterpoint; "contrapuntal base" 2. contrapuntal - having two or more independent but harmonically related …
Contrapuntal vs. Polyphonic - What's the Difference? | This vs. That
Contrapuntal and polyphonic are both musical techniques that involve the interweaving of multiple independent melodies or voices. However, the main difference between the two lies in their …
What does contrapuntal mean? - Definitions.net
Contrapuntal refers to a type of music composition in which two or more relatively independent and harmonically interdependent melodies are played or sung together. It is the technique of …
contrapuntal, adj. meanings, etymology and more - Oxford …
What does the adjective contrapuntal mean? There are three meanings listed in OED's entry for the adjective contrapuntal . See ‘Meaning & use’ for definitions, usage, and quotation evidence.
Contrapuntal Definition & Meaning - YourDictionary
Contrapuntal definition: Of, relating to, or incorporating counterpoint.
contrapuntal - Wiktionary, the free dictionary
Jan 2, 2025 · contrapuntal (comparative more contrapuntal, superlative most contrapuntal) Of or in counterpoint. Of or relating to counterpoint. (music, of a piece of music) With two or more …
Contrapuntal - Definition, Meaning & Synonyms - Vocabulary.com
Anything contrapuntal has to do with counterpoint, which is a type of music that has two melodic lines played at the same time. Many kinds of music (such as rock and country) are very simple, …
