Counterpoint : a species approach based on Schenker's Counterpoint
著者
書誌事項
Counterpoint : a species approach based on Schenker's Counterpoint
Scarecrow Press, 2005
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注記
Includes bibliographical references (p. 121-122) and index
内容説明・目次
内容説明
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.
目次
- Part 1 Preface Part 2 Part One: Two-Part Counterpoint Chapter 3 1 Exercise Writing and the Cantus Firmus Chapter 4 2 Two-Part First Species (Note Against Note) Chapter 5 3 Two-Part Second Species (Two Notes Against One) Chapter 6 4 Two-Part Third Species (Four Notes Against One) Chapter 7 5 Two-Part Fourth Species (Syncopation) Chapter 8 6 Two-Part Fifth Species (Mixed Counterpoint) Part 9 Part Two: Three-Part Counterpoint Chapter 10 7 Three-Part First Species Chapter 11 8 Three-Part Second Species Chapter 12 9 Combined Counterpoint of the Second Species Chapter 13 10 Three-Part Third Species Chapter 14 11 Combined Counterpoint of the Second and Third Species Chapter 15 12 Three-Part Fourth Species Chapter 16 13 Three-Part Mixed Species Chapter 17 14 Combined Species Incorporating Syncopation Chapter 18 15 Combined Species with the Mixed Species
- Imitation Part 19 Part Three: Free Composition Chapter 20 16 Modulation (Cadences to New Key Centers) Chapter 21 17 Two-Part Free Counterpoint to the First Cadence Chapter 22 18 More on Imitation
- First Piece Chapter 23 19 Invertible Counterpoint (Octave) Chapter 24 20 More on Invertible Counterpoint Part 25 Appendices Chapter 26 1 Four-Part First Species Chapter 27 2 Four-Part Simple Species (Second, Third, Fourth, Mixed) Chapter 28 3 Five-, Six-, Seven-, and Eight-Part Counterpoint Chapter 29 4 Four-Part Combined Counterpoints Chapter 30 5 Three- or Four-Part Kyrie
- Stretto Part 31 Bibliography Part 32 Index Part 33 About the Author
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