Description
The Principles and Practice of Tonal Counterpoint
Author: Jones Evan
Language: EnglishKeywords
counterpoint; tonal counterpoint; counterpoint textbook; music theory; music analysis; theory and analysis; 18th century music; 18th-century counterpoint; eighteenth century counterpoint; 20th century counterpoint; twentieth century counterpoint; tonal harmony; Douglass Green; species counterpoint; Baroque counterpoint; Classical counterpoint; 19th century counterpoint; 19th-century counterpoint; nineteenth century counterpoint; Douglass M; Green; J.S; Bach; fugue; Children Children Children; Children Children Children Children; Children Children Children Children Children; Major Minor Seventh Chord; Melodic Minor Scale; Chorale Prelude; Basso Continuo; Vice Versa; Goldberg Variations; Seventh Chord; Die Kunst Der Fuge; Double Counterpoint; Roman Numeral Analysis; Meine Freude; Haupt Voll Blut Und Wunden; Imitative Sequence; Eighteenth Century Instrumental Music; Invertible Counterpoint; Dona Nobis Pacem; Harmonic Rhythm; Major Seventh Chord; Plagal Cadence; Complementary Rhythm
Publication date: 10-2015
Support: Print on demand
Publication date: 09-2015
· 21x28 cm · Hardback
Description
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/li>Biography
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The Principles and Practice of Tonal Counterpoint is a comprehensive textbook that combines practical, "how-to" guidance in 18th-century techniques with extensive historical examination of contrapuntal works and genres. Beginning with an introductory grounding in species counterpoint, tonal harmony, and figured bass, students progress through the study of chorale preludes, invertible counterpoint, and canonic and fugal writing. This textbook thoroughly joins principle with practice, providing a truly immersive experience in the study of tonal counterpoint and familiarizing students with contrapuntal styles from the Baroque period to the 21st century. Also available is a companion volume, The Principles and Practice of Modal Counterpoint, which focuses on 16th-century techniques and covers modal music from Gregorian chant through the 17th century.
1. Species Counterpoint in Major and Minor Modes 2. Eighteenth-Century Thoroughbass and Chorale Harmonization 3. The Chorale Prelude 4. Continuo-Homophony in Baroque Music 5. Sequences and Invertible Counterpoint 6. The Two-Part Inventions of J.S. Bach 7. Three-Voice Counterpoint 8. Rounds and Canons 9. Fugue 10. Counterpoint in Nineteenth-Century Music 11. Counterpoint in Twentieth Century Music
Douglass M. Green (1926–1999) was a founding member of the Society for Music Theory. He last taught at the University of Texas at Austin, where he was Professor of Music Theory until his death. Widely known as an expert in the music of Debussy and Berg, Green was the author of many articles and books on musical form and harmony, including the seminal analysis text Form in Tonal Music. He won several honors throughout his lifetime, including appointment as a Fulbright Scholar to Italy, the ASCAP-Deems Taylor Award, and the E. W. Doty Professorship of Fine Arts at UT-Austin. Green’s counterpoint classes remain legendary among his students.
Evan Jones is Associate Professor and Coordinator of Music Theory and Composition at the Florida State University College of Music. He has received a Sproull Fellowship from the University of Rochester, a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada, and the Alfred Mann Dissertation Prize from the Eastman School. He has published research on music by Lassus, Quantz, Schubert and Xenakis in peer-reviewed journals and essay collections, and edited a two-volume collection of essays on twentieth-century string quartets that received the Society for Music Theory’s Citation of Special Merit.
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