| Contents |
Vocabulary -- Melody -- Two-part counterpoint. Intervals ; Treatment of dissonances ; Rhythm and meter ; Special features ; Simultaneous motion ; Imitation ; Double counterpoint ; The motet -- Three-part counterpoint -- Appendix. |
| Abstract |
"The purpose of this paper is to present the subject matter in concentrated form for the use of teachers and students who can devote only a limited amount of time to the study of modal counterpoint. Observance of the rules in this manual will produce a style close enough to the compositional procedures of Palestrina as to make it possible for the student to achieve, even in his elementary exercises, some of the flavor of living great music. Exclusive purity of style being neither possible nor desirable, a few details of the compositional style of this outline may correspond to the more relaxed practice of composers like Orlando di Lasso and Tomás Luis de Victoria rather than to the strictness of Palestrina. Special emphasis is placed on the development of the student's sense for freely articulated melody (hence the absence of barlines from our examples). Since the traditional training in the 'five species' tends to counteract this attainment rather than to further it, this discipline has been omitted from the present outline. In order to make the student acquainted with this method, its principles are briefly explained in the appendix."--Preface. |
| Local note | Little-319115--305131024286Z |
| General note | Includes preface and introductory remarks. |
| LCCN | 59045012 |
| Publisher number | B. H. Bk. 413 Boosey & Hawkes |
