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Bach and the Meanings of Counterpoint
In Bach's Germany musical counterpoint was an art involving much more than the sophisticated use of advanced compositional techniques. A range of theological, cultural, social and political meanings attached themselves to the use of complex procedures such as canon and double counterpoint. This book explores the significance of Bach's counterpoint in a range of interrelated contexts: its use as a means of reflecting on death; its parallels to alchemy; its vexed status in the galant music culture of the first half of the eighteenth century; its value as a representation of political power; and its central importance in the creation of Bach's image in the nineteenth and twentieth centuries. Touching on a wide array of contemporary literary, philosophical, critical, and musical texts, the book includes new readings of many of Bach's late works in order to re-evaluate the status and meaning of counterpoint in Bach's work and legacy.
Counterpoint
Counterpoint manuals have long been central to the music education of composers, historians, and theorists. In this book a conductor uses counterpoint exercises to aid musicians in becoming sensitive to the fundamental ingredients of good music making.
Harmony, Counterpoint & Improvisation Book 2
This is the second volume of Harmony, Counterpoint & Improvisation, a textbook which offers each of these three facets as one organic course of study. The harmony section covers the whole technique of common chords and their inversions. Counterpoint is initially discussed as a vocal art and the early exercises explore the art of Palestrina and the English Tudor composers. In the improvisation section many keyboard techniques are introduced, such as transposition, chord progression and simple harmonisation.
Harmony, Counterpoint & Improvisation: Book 1
This is the first volume of Harmony, Counterpoint & Improvisation, a textbook which offers each of these three facets as one organic course of study. The harmony section covers the whole technique of common chords and their inversions. Counterpoint is initially discussed as a vocal art and the early exercises explore the art of Palestrina and the English Tudor composers. In the improvisation section many keyboard techniques are introduced, such as transposition, chord progression and simple harmonisation.
A Manual of Sixteenth-century Contrapuntal Style
This volume explores the expressive power of sixteenth-century vocal polyphony, giving special emphasis to the development of aural familiarity with the style. Every element of sixteenth-century counterpoint is defined, described, and liberally illustrated, included for analysis and singing are complete compositions and movements by Palestrina, Lasso, Victoria, Byrd, Morales, and Joaquin.
Counterpoint
It is the twilight of mankind. Depleted by generations of war with a race of dark beasts, humanity stands on the brink of extinction. The outlands are soaked with the blood of the fallen. The midlands are rotting with decadence and despair. Elfkind, estranged by past crimes, watches and waits for nature to run its course. And then the two collide. Ayden's life has long been guided by two emotions: love for his sister, and hatred of all things human. When he's captured in battle, he is enslaved in the service of a human prince, Freyrik Farr. Freyrik's always known elves to be beautiful and dangerous, but never has one affected him as deeply as Ayden. Teetering on a dagger's edge between duty and high treason, Freyrik discovers that some choices can change a life, and some an entire world. Between prejudice, politics, pride, and survival, Ayden and Freyrik must carve a new path, no matter how daunting. For nothing less than the fate of both their peoples rests on the power of their perseverance — and their love.
A Practical Approach to 16th Century Counterpoint
Practical work in writing counterpoint! Gauldin emphasizes the acquisition of writing skills in the contrapuntal discipline and the simulation of sixteenth-century sacred polyphonic idioms in this volume. The author follows a didactic method of a non-species or direct approach. While no previous contrapuntal training is necessary to absorb this material, some acquaintance with Baroque polyphonic terminology proves helpful. Key features include: musical examples illustrating specific devices are taken from musical literature or composed by the author; demonstrates the possibility of employing a single given pitch series within the contexts of different compositional techniques; includes a collection of complete or excerpted movements drawn from musical literature at the conclusion of each major textual division; emphasizes Palestrina and the Counter-Reformation sacred style; discusses various compositional procedures of the late Renaissance, including paraphrase, cantus firmus, familiar style, parody, polychoral technique, and chromaticism.
