Modal and Tonal Counterpoint : From Josquin to Stravinsky

by Owen, Harold

• ISBN13: 9780028721453
• ISBN10: 0028721454
• Edition: 1st
• Format: Paperback
• Copyright: 1992-03-19
• Publisher: CENGAGE Learning
• More Book Details
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Table of Contents

Preface	ix
PART ONE Introductory Concepts
The Nature of Polyphonic Music: Terms and General Concepts	3	(12)
Polyphony and Style: A Comparison of Examples From the Fourteenth to the Twentieth Centuries	15	(12)
PART TWO Counterpoint in the Late Renaissance (1500--1600)
Two-Part Counterpoint: Basic Principles of Sixteenth-Century Style	27	(7)
Two-Part Counterpoint: First and Second Species Counterpoint	34	(8)
Two-Part Counterpoint: Third, Fourth, and Fifth Species	42	(11)
Two-Part Motets: Setting of Text; Formal Considerations	53	(8)
Two-Part Secular Music: Instrumental Duo; Canzonet	61	(10)
Three-Part Counterpoint: Motet; Canzonet; Fantasia	71	(17)
Four-Part Counterpoint: Dance Variations; Motet; Madrigal	88	(16)
Polyphony in More Than Four Parts	104	(19)
PART THREE Counterpoint in the Early Baroque (1600--1700)
Stylistic Innovations: The Basso Continuo; the Emergence of Tonality; New Uses of Dissonance; Chromaticism	123	(6)
Continuous Variations: Ground Bass; Chaconne; and Passacaglia	129	(10)
Trio Texture: Two Trebles With Continuo	139	(9)
Predecessors of the Fugue: Canzona; Ricercar; Fantasia; and Choral Fugato	148	(19)
PART FOUR Counterpoint in the Late Baroque (1700--1750)
Review of Basic Concepts and Introduction to Eighteenth-Century Counterpoint	167	(6)
Polyphonic Style in 1700: Melodic, Harmonic, and Temporal Considerations; Polyphonic Textures	173	(10)
Cantus Firmus Compositions: The Chorale Prelude	183	(17)
Invention: Bach's Two-Part Inventions	200	(9)
Three-Part Counterpoint: Bach's Sinfonias	209	(8)
Canon: Two-Part Canon; Accompanied Canon; Canonic Chorale Prelude	217	(13)
Fugue I: Overview; Subject and Response; Countersubject	230	(14)
Fugue II: The Exposition in Three and Four Parts	244	(6)
Fugue III: Development; Episodes; Contrapuntal Techniques and Devices; Stretto; Concluding Techniques	250	(16)
Genres Using Fugal Technique: Gigue; Fugal Sonata Movement; Fugal Chorus	266	(19)
PART FIVE Polyphony in the Classical and Romantic Eras (1750--1900)
Polyphony in the Classical Era: Counterpoint in Haydn, Mozart, and Beethoven	285	(17)
Polyphony in the Romantic Era: Counterpoint in Mendelssohn, Brahms, Franck, and Others	302	(19)
PART SIX Polyphony in the First Half of the Twentieth Century
Serial and Atonal Counterpoint	321	(12)
Counterpoint in Hindemith, Bartok, and Stravinsky	333	(20)
Appendix A Identification of Examples in Chapter 1	353	(2)
Appendix B The Ecclesiastical Modes and the Hexacord System	355	(4)
A Guide to the Interpretation of Figured Bass Symbols	359	(4)
Glossary	363	(8)
Discography	371	(4)
Selected Bibliography	375	(4)
List of Musical Examples for Discussion	379	(4)
Index	383