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| modal and tonal counterpoint: Modal and Tonal Counterpoint Harold Owen, 1992 |
| modal and tonal counterpoint: The Craft of Modal Counterpoint Thomas Benjamin, 2005 First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company. |
| modal and tonal counterpoint: Tonal Counterpoint for the 21st-Century Musician Teresa Davidian, 2015-02-10 Students today have grown up in the age of digital technology. As a result, they process information in radically different ways than preceding generations. They like their information fast and consider visual images as important as textual content. In Tonal Counterpoint for the 21st-Century Musician, Teresa Davidian finally provides students a textbook that is quick, direct, and visual—a direct reflection of the age in which they live. This book is easy to understand, comprehensive, and distinctly modern in its approach to the study of counterpoint. Written in a style that is clear, simple, and informal writing style, Davidian artfully mixes the history of counterpoint with an outline of its structure, placing musical examples from J. S. Bach side by side with those from The Beatles to illustrate the universality and currency of counterpoint in music analysis and composition. Designed as a single-semester introduction, Tonal Counterpoint brings the study of counterpoint into the present by: Making ample use of diagrams and flow charts Including helpful step-by-step prompt sheets for analyzing inventions and fugues Placing just as much emphasis on the composition as on the analysis of counterpoint Offering a broad array of musical examples, including the work of women composers, American songwriters, current students, and pop music composers Throughout, Davidian explains how the techniques of 18th-century contrapoint still readily apply to how music is composed today. Tonal Counterpoint for the 21st-Century Musician is ideal for students in the fields of music theory, composition, music history, and performance. |
| modal and tonal counterpoint: 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. |
| modal and tonal counterpoint: The Craft of Tonal Counterpoint Thomas Benjamin, 2023 |
| modal and tonal counterpoint: Modal and Tonal Counterpoint Harold Owen, 1992 This is a comprehensive study of the development of counterpoint form the sixteenth century through the first half of the twentieth century. 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. --book cover. |
| modal and tonal counterpoint: Modal Counterpoint, Renaissance Style Peter Schubert, 1999 Modal Counterpoint, Renaissance Style introduces the rules for writing and analysing 16th-century music through a wide variety of carefully graded exercises. It begins with species counterpoint -- the method used to teach voice-leading and the treatment of consonances and dissonances in contrapuntal composition -- with exercises modelled on examples from among 1600. Unlike other books that bear little stylistic relation to the music of the period, this is the only text available that uses examples and concepts based on Renaissance treatises and contemporaneous theoretical sources. This book provides a conceptual framework that guides the students' writing and analysis and that teaches students the general principles of composition. The author's selection of Renaissance repertoire examples illustrates the range of possibilities within a given technical formula. The concluding chapters provide conceptual tools and formal schemes for building longer pieces, encouraging students to see analysis and composition as complementary activities. By the end of the book students are writing real compositions, not just drill exercises. Adapted from eight years of class testing, this textbook includes many helpful tools for students and teachers, including carefully chosen musical examples, different levels of student exercises with exercise blanks, historial asides explaining interesting and relevant issues of the period, a glossary of terms, brief information on theorists whose work was examined to make this text, and brief notes to the teacher. This book uniquely combines the stylistic accuracy of the style-oriented texts with more systematic species counterpoint approach, favoured by many as a pedagogical method. |
| modal and tonal counterpoint: 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. |
| modal and tonal counterpoint: Harmony, Counterpoint, Partimento Job IJzerman, 2018-11-26 A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes: · the hardcopy text, providing essential stylistic and technical information and repertoire discussion; · an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions; · an online instructor's manual providing additional information and realizations of all exercises. Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint. |
| modal and tonal counterpoint: Graduate Review of Tonal Theory Steven Geoffrey Laitz, Christopher A. Bartlette, 2010 This student workbook accompanies Graduate Review of Tonal Theory: A Recasting of Common-Practice Harmony, Form, and Counterpoint. The exercises are organized by chapter into 61 discrete assignments, each progressing from short, introductory analytical and writing exercises to more-involved tasks. This volume also features additional keyboard exercises for 12 chapters. The student workbook is enhanced by a DVD of recordings by the Eastman students and faculty of musical examples from the text and analytical exercises within. |
| modal and tonal counterpoint: Counterpoint in Composition Felix Salzer, Carl Schachter, 1989 -- Stanley Persky, City University of New York |
| modal and tonal counterpoint: Baroque Counterpoint Christoph Neidhofer, Peter Schubert, 2023-12-01 This book teaches Baroque compositional techniques through writing and improvisation exercises and analysis of repertoire examples. It provides readers with a historical outlook by focusing largely on principles taught in treatises from the period 1680–1780. This expanded edition includes new sections with keyboard exercises that provide training in Partimento performance as it was practiced at the time, helping students master Baroque style from the inside. While the focus of the book is on fugue, it also treats chorale preludes, stylized dances, inventions, and trio sonatas. The volume is divided into two parts—basic and advanced— which could be taught in a two-semester sequence. There are various options to introduce material from Part II into Part I for a one-semester course. |
| modal and tonal counterpoint: Manual of Counterpoint Based DAVID D AUTOR BOYDEN, 1994 |
| modal and tonal counterpoint: Harmonic Experience W. A. Mathieu, 1997-08-01 An exploration of musical harmony from its ancient fundamentals to its most complex modern progressions, addressing how and why it resonates emotionally and spiritually in the individual. W. A. Mathieu, an accomplished author and recording artist, presents a way of learning music that reconnects modern-day musicians with the source from which music was originally generated. As the author states, The rules of music--including counterpoint and harmony--were not formed in our brains but in the resonance chambers of our bodies. His theory of music reconciles the ancient harmonic system of just intonation with the modern system of twelve-tone temperament. Saying that the way we think music is far from the way we do music, Mathieu explains why certain combinations of sounds are experienced by the listener as harmonious. His prose often resembles the rhythms and cadences of music itself, and his many musical examples allow readers to discover their own musical responses. |
| modal and tonal counterpoint: Hearing Homophony Megan Kaes Long, 2020 In Hearing Homophony, Megan Kaes Long presents a groundbreaking model for understanding tonality and its origins, examining it through the lens of popular songs of late-Renaissance Western Europe. |
| modal and tonal counterpoint: Counterpoint Knud Jeppesen, 1992-01-01 First paperback edition of classic introductory text by world-renowned musicologist and authority on Palestrina. Features history of contrapuntal theory, technical features, species exercises in 2-, 3- and 4-part counterpoint; canon, motet, Mass, more. Includes many musical examples. New foreword by Alfred Mann. Introduction. |
| modal and tonal counterpoint: Studies in Music with Text David Lewin, 2006-01-05 Throughout his career, David Lewin labored to make even the most abstract theory speak to the experience of the ordinary listener. This book combines many of Lewin's classic articles on song and opera with newly drafted chapters on songs of Brahms, Robert Schumann, Clara Schumann, and Milton Babbitt. Bound together by Lewin's cogent insight, the resulting collection constitutes a major statement concerning the methodological problems associated with interpretation of texted music. |
| modal and tonal counterpoint: Hollywood Harmony Frank Lehman, 2018 Film music often tells us how to feel, but it also guides us how to hear. Filmgoing is an intensely musical experience, one in which the soundtrack structures our interpretations and steers our emotions. Hollywood Harmony explores the inner workings of film music, bringing together tools from music theory, musicology, and music psychology in this first ever book-length analytical study of this culturally central repertoire. Harmony, and especially chromaticism, is emblematic of the film music sound, and it is often used to evoke that most cinematic of feelings-wonder. To help parse this familiar but complex musical style, Hollywood Harmony offers a first-of-its kind introduction to neo-Riemannian theory, a recently developed and versatile method of understanding music as a dynamic and transformational process, rather than a series of inert notes on a page. This application of neo-Riemannian theory to film music is perfect way in for curious newcomers, while also constituting significant scholarly contribution to the larger discipline of music theory. Author Frank Lehman draws from his extensive knowledge of cinematic history with case-studies that range from classics of Golden Age Hollywood to massive contemporary franchises to obscure cult-films. Special emphasis is placed on scores for major blockbusters such as Lord of the Rings, Star Wars, and Inception. With over a hundred meticulously transcribed music examples and more than two hundred individual movies discussed, Hollywood Harmony will fascinate any fan of film and music. |
| modal and tonal counterpoint: The Art of Tonal Analysis Carl Schachter, 2015-12-02 Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music and the musical issues that have concerned him most deeply; the course was in essence a summation of his extensive and renowned teaching. In The Art of Tonal Analysis, music theorist Joseph Straus presents edited transcripts of those lectures. Accompanied by abundant music examples, including analytical examples transcribed from the classroom blackboard, Straus's own visualizations of material that Schachter presented aurally at the piano, and Schachter's own extended Schenkerian graphs and sketches, this book offers a vivid account of Schachter's masterful pedagogy and his deep insight into the central works of the tonal canon. In making the lectures of one of the world's most extraordinary musicians and musical thinkers available to a wide audience, The Art of Tonal Analysis is an invaluable resource for students and scholars of music. |
| modal and tonal counterpoint: Music Theory Essentials Jason W. Solomon, 2019-03-15 Music Theory Essentials offers an antidote to music theory textbooks that are overly long and dense. Focusing on the essentials, this text provides a clear-cut guide to the key concepts of music theory. Beginning with no assumptions about music theory knowledge, the book covers the core elements of music fundamentals, diatonic and chromatic harmony, post-tonal theory, and popular music in a single concise volume. Emphasizing critical thinking skills, this book guides students through conceptualizing musical concepts and mastering analytic techniques. Each chapter concludes with a selection of applications designed to enhance engagement: Exercises allow students to apply and practice the skills and techniques addressed in the chapter. Brain Teasers challenge students to expand their musical understanding by thinking outside the box. Exploring Music offers strategies for students to apply learned concepts to the music they are currently learning or listening to. Thinking Critically encourages students to think more deeply about music by solving problems and identifying and challenging assumptions. A companion website provides answers to book exercises, additional downloadable exercises, and audio examples. Straightforward and streamlined, Music Theory Essentials is a truly concise yet comprehensive introduction to music theory that is accessible to students of all backgrounds. |
| modal and tonal counterpoint: Analysis of Tonal Music Allen Clayton Cadwallader, David Gagné, 2007 'Analysis of Tonal Music' introduces the fundamental principles of Schenkerian analysis within the context of the music itself. |
| modal and tonal counterpoint: The Study of Fugue Alfred Mann, 1987-01-01 Features a historical survey of writings on the fugue from the Renaissance to the present as well as four 18th-century studies: works by J. J. Fux, F. W. Marpurg, and more. Includes introductions, commentary, and 255 musical examples. |
| modal and tonal counterpoint: The Oxford Handbook of Critical Concepts in Music Theory Alexander Rehding, Steven Rings, 2019-11-19 Music Theory has a lot of ground to cover. Especially in introductory classes a whole range of fundamental concepts are introduced at fast pace that can never be explored in depth or detail, as other new topics become more pressing. The short time we spend with them in the classroom belies the complexity (and, in many cases, the contradictions) underlying these concepts. This book takes the time to tarry over these complexities, probe the philosophical assumptions on which these concepts rest, and shine a light on all their iridescent facets. This book presents music-theoretical concepts as a register of key terms progressing outwards from smallest detail to discussions of the music-theoretical project on the largest scale. The approaches individual authors take range from philosophical, historical, or analytical to systematic, cognitive, and critical-theorical-covering the whole diverse spectrum of contemporary music theory. In some cases authors explore concepts that have not yet been widely added to the theorist's toolkit but deserve to be included; in other cases concepts are expanded beyond their core repertory of application. This collection does not shy away from controversy. Taken in their entirety, the essays underline that music theory is on the move, exploring new questions, new repertories, and new approaches. This collection is an invitation to take stock of music theory in the early twenty-first century, to look back and to encourage discussion about its future directions. Its chapters open up a panoramic view of the contemporary music-theoretical landscape with its expanding repertories and changing guiding questions, and offers suggestions as to where music theory is headed in years to come. |
| modal and tonal counterpoint: Modal Subjectivities Susan McClary, 2019-10-22 In this boldly innovative book, renowned musicologist Susan McClary presents an illuminating cultural interpretation of the Italian madrigal, one of the most influential repertories of the Renaissance. A genre that sought to produce simulations in sound of complex interiorities, the madrigal introduced into music a vast range of new signifying practices: musical representations of emotions, desire, gender stereotypes, reason, madness, tensions between mind and body, and much more. In doing so, it not only greatly expanded the expressive agendas of European music but also recorded certain assumptions of the time concerning selfhood, making it an invaluable resource for understanding the history of Western subjectivity. Modal Subjectivities covers the span of the sixteenth-century polyphonic madrigal, from its early manifestations in Philippe Verdelot's settings of Machiavelli in the 1520s through the tortured chromatic experiments of Carlo Gesualdo. Although McClary takes the lyrics into account in shaping her readings, she focuses particularly on the details of the music itself—the principal site of the genre's self-fashionings. In order to work effectively with musical meanings in this pretonal repertory, she also develops an analytical method that allows her to unravel the sophisticated allegorical structures characteristic of the madrigal. This pathbreaking book demonstrates how we might glean insights into a culture on the basis of its nonverbal artistic enterprises. |
| modal and tonal counterpoint: Counterpoint Henry Martin, 2005 Counterpoint is a textbook for use as a stand-alone text in a course on species counterpoint or as a supplementary text for standard college-level courses in music theory. It is based on Heinrich Schenker's (1868-1935) two-volume study of counterpoint. It is intended to help all students of theory or composition to improve their musicianship by examining the voice-leading that underlies Western tonal music. The book proceeds by developing species counterpoint in the tradition of Johann Joseph Fux and his famous Gradus ad Parnassum (1725), but with attention to Schenker's more in-depth study. For the sake of brevity, musical examples are available on the Scarecrow Press website (www.scarecrowpress.com), rather than within the text itself. Everyone from beginning music theory students to composers to graduate composition students will greatly benefit from the methods presented here. Rather than actually teaching a student to compose, working through these exercises will improve musicianship as it applies to both composition and understanding music theory. |
| modal and tonal counterpoint: Contemporary Counterpoint Beth Denisch, 2017-09-01 (Berklee Guide). Use counterpoint to make your music more engaging and creative. Counterpoint the relationship between musical voices is among the core principles for writing music, and it has been central to the study of composition for many centuries. Whether you are a composer, arranger, film composer, orchestrator, music director, bandleader, or improvising musician, this book will help hone your craft, gain control, and lead you to new creative possibilities. You will learn tricks of the trade from the masters and apply these skills to contemporary styles. Online audio examples illustrate the principles being discussed, and many recommended listening lists point you to additional examples of how these principles have been used in music over the past thousand years. |
| modal and tonal counterpoint: Tonal Harmony Stefan M. Kostka, 2000 |
| modal and tonal counterpoint: Tonal Harmony Stefan M. Kostka, 2017-08-06 |
| modal and tonal counterpoint: Music Theory Resource Book Harold Owen, 2000 Music Theory Resource Book covers topics not usually found in standard theory texts including basic acoustics, contrapuntal techniques, jazz harmony, musics from non-Western cultures, and music since 1950.--BOOK JACKET. |
| modal and tonal counterpoint: The Cambridge History of Western Music Theory Thomas Christensen, 2006-04-20 The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike. |
| modal and tonal counterpoint: Concise Introduction to Tonal Harmony L. Poundie Burstein, Joseph Nathan Straus, 2020 The groundbreaking theory text that students read and understand |
| modal and tonal counterpoint: The Musician's Guide to Theory and Analysis Jane Piper Clendinning, Elizabeth West Marvin, 2016-06-01 The Musician’s Guide to Theory and Analysis is a complete package of theory and aural skills resources that covers every topic commonly taught in the undergraduate sequence. The package can be mixed and matched for every classroom, and with Norton’s new Know It? Show It! online pedagogy, students can watch video tutorials as they read the text, access formative online quizzes, and tackle workbook assignments in print or online. In its third edition, The Musician’s Guide retains the same student-friendly prose and emphasis on real music that has made it popular with professors and students alike. |
| modal and tonal counterpoint: Harmonic Practice in Tonal Music Robert Gauldin, 2004 Conceptually sophisticated and exceptionally musical, Harmonic Practice in Tonal Music provides a thorough treatment of harmony and voice-leading principles in tonal music. |
| modal and tonal counterpoint: Tonal Structures in Early Music Cristle Collins Judd, 2014-04-23 Discussion of tonal structure has been one of the most problematic and controversial aspects of modern study of Medieval and Renaissance polyphony. These new essays written specifically for this volume consider the issue from historical, analytical, theoretical, perceptual and cultural perspectives. |
| modal and tonal counterpoint: Techniques of Twentieth Century Composition Leon Dallin, 1974 |
| modal and tonal counterpoint: Essentials of Eighteenth-century Counterpoint Neale B. Mason, 1968 |
| modal and tonal counterpoint: 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. |
| modal and tonal counterpoint: The Technique and Spirit of Fugue George Oldroyd, 1948 This book provides a more enlightened understanding of fugal writing, based on the works of Johann Sebastian Bach. |
| modal and tonal counterpoint: Connecting Chords with Linear Harmony Bert Ligon, 1996 (Jazz Book). A study of three basic outlines used in jazz improv and composition, based on a study of hundreds of examples from great jazz artists. |
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