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| 100 | 1 | ⊔ | ‡aOwen, Harold, ‡d1931- |
| 245 | 1 | 0 | ‡aModal and tonal counterpoint : ‡bfrom Josquin to Stravinsky / ‡cHarold Owen. |
| 260 | ⊔ | ⊔ | ‡aNew York : ‡bSchirmer Books ; ‡aToronto : ‡bMaxwell Macmillan Canada ; ‡aNew York : ‡bMaxwell Macmillan International, ‡c©1992. |
| 300 | ⊔ | ⊔ | ‡ax, 389 pages : ‡billustrations ; ‡c28 cm |
| 336 | ⊔ | ⊔ | ‡atext ‡btxt ‡2rdacontent |
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| 504 | ⊔ | ⊔ | ‡aIncludes bibliographical references (pages 375-377) and index. |
| 504 | ⊔ | ⊔ | ‡aDiscography: pages 371-374. |
| 505 | 0 | ⊔ | ‡aPreface. PART ONE: INTRODUCTORY CONCEPTS. 1. The Nature of Polyphonic Music: Terms and General Concepts. 2. Polyphony and Style: A Comparison of Examples From the Fourteenth to the Twentieth Centuries. PART TWO: COUNTERPOINT IN THE LATE RENAISSANCE (1500-1600). 3. Two-Part Counterpoint: Basic Principles of Sixteenth-Century Style. 4. Two-Part Counterpoint: First and Second Species Counterpoint. 5. Two-Part Counterpoint: Third, Fourth, and Fifth Species. 6. Two-Part Motets: Setting of Text; Formal Considerations. 7. Two-Part Secular Music: Instrumental Duo; Canzonet. 8. Three-Part Counterpoint: Motet; Canzonet; Fantasia. 9. Four-Part Counterpoint: Dance Variations; Motet; Madrigal. 10. Polyphony in More Than Four Parts. PART THREE: COUNTERPOINT IN THE EARLY BAROQUE (1600-1700). 11. Stylistic Innovations: The Basso Continuo; the Emergence of Tonality; New Uses of Dissonance; Chromaticism. 12. Continuous Variations: Ground Bass; Chaconne; and Passacaglia. 13. Trio Texture: Two Trebles With Continuo. 14. Predecessors of the Fugue: Canzona; Ricercar; Fantasia; and Choral Fugato. PART FOUR: COUNTERPOINT IN THE LATE BAROQUE (1700-1750). 15. Review of Basic Concepts and Introduction to Eighteenth-Century Counterpoint. 16. Polyphonic Style in 1700: Melodic, Harmonic, and Temporal Considerations; Polyphonic Textures. 17. Cantus Firmus Compositions: The Chorals Prelude. 18. Invention: Bach's Two-Part Inventions. 19. Three-Part Counterpoint: Bach's Sinfonia's. 20. Canon: Two-Part Canon; Accompanied Canon; Canonic Chorale. 21. Fugue I: Overview; Subject and Response; Countersubject. 22. Fugue II: The Exposition in Three and Four Parts. 23. Fugue III: Development; Episodes; Contrapuntal Techniques and Devices; Stretto; Concluding Techniques. 24. Genres Using Fugal Technique: Gigue; Fugal Sonata Movement; Fugal Chorus. PART FIVE: POLYPHONY IN THE CLASSICAL AND ROMANTIC ERAS (1750-1900). 25. Polyphony in the Classical Era: Counterpoint in Haydn, Mozart, and Beethoven. 26. Polyphony in the Romantic Era: Counterpoint in Mendelssohn, Brahms, Franck, and Others. PART SIX: POLYPHONY IN THE FIRST HALF OF THE TWENTIETH CENTURY. 27. Serial and Atonal Counterpoint. 28. Counterpoint in Hindemith, Bartok, and Stravinsky. Appendix A: Identification of Examples in Chapter 1. Appendix B: The Ecclesiastical Modes and the Hexacord System. Appendix C: A Guide to the Interpretation of Figured Bass Symbols. Glossary. Discography. Selected Bibliography. List of Musical Examples for Discussion. Index. |
| 520 | ⊔ | ⊔ | ‡aThis 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. |
| 538 | ⊔ | ⊔ | ‡aMode of access: Internet. |
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| 776 | 0 | 8 | ‡iOnline version: ‡aOwen, Harold, 1931- ‡tModal and tonal counterpoint. ‡dNew York : Schirmer Books ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International, ©1992 ‡w(OCoLC)654149096 |
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