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Counterpoint : based on eighteenth-century practice / Kent Kennan.
LIBRA MT55 .K53 1987
Available from offsite location
Van Pelt - Albrecht Music Library MT55 .K53 1987
Mixed Availability
- Format:
- Book
- Author/Creator:
- Kennan, Kent, 1913-2003.
- Language:
- English
- Subjects (All):
- Counterpoint.
- Physical Description:
- x, 293 pages : music ; 24 cm
- Edition:
- Third edition.
- Place of Publication:
- Englewood Cliffs, N.J. : Prentice-Hall, [1987]
- Contents:
- Historical perspective 1
- "Strict" versus "free" counterpoint 2
- Counterpoint as taught on the basis of stylistic norms 2
- The nature of counterpoint 3
- Chapter 2 The Single Melodic Line 4
- Melodic contour 4
- Relative importance of notes 7
- Harmonic implications 8
- The compound line 9
- Range 10
- Other considerations 10
- Chapter 3 Principles of Two-Voice Counterpoint 18
- Quality of individual lines 19
- Independence between the lines 19
- Unity 20
- Harmonic implications 21
- Consonance versus dissonance 29
- Chapter 4 Two-Voice Exercises, 1:1, 2:1 34
- Note against note (1:1) 34
- Two notes against one (2:1) 37
- Chapter 5 Chromaticism (Two Voices) 49
- Melodic versus harmonic usage 49
- Modulation 53
- Chromatic spelling 54
- Cross relations 55
- Concerning two-voice chromatic exercises 55
- Chapter 6 Two-Voice Exercises (Concluded) 59
- Three notes against one (3:1) 59
- Four notes against one (4:1) 62
- Syncopation (fourth species) 64
- Fifth species 74
- Rhythmic activity divided between the voices 76
- Chapter 7 Writing of Short Two-Voice Pieces 78
- Form 78
- Reducing or increasing the number of voices 82
- Varied repetition 85
- Chapter 8 Canon 90
- The two-voice canon at the octave 90
- Two-voice canons at other harmonic intervals 93
- Concerning the writing of two-voice canons 95
- Canons using special devices 96
- The accompanied canon 103
- Canons in three or more voices 104
- The perpetual canon 107
- The double canon 110
- The enigma canon 111
- The spiral canon 113
- Chapter 9 Invertible Counterpoint 114
- Inversion at the octave 114
- Inversion at intervals other than the octave 117
- General principles involved in writing invertible counterpoint 120
- Invertible counterpoint involving three or more voices 122
- Chapter 10 The Two-Part Invention; Motive Development 125
- The motive 126
- The imitation; the countermotive 127
- The accompanying line 128
- Possible plans of the initial announcements 129
- Development through special devices 132
- Episodes 133
- Middle entries 137
- The final statements 138
- Overall construction 138
- Analysis of inventions 139
- Chapter 11 Three-Voice Counterpoint 144
- Rhythmic relationships 144
- Relative importance of voices 148
- Harmonic considerations 148
- Exercises in three-voice counterpoint 155
- Chapter 12 Writing of Short Pieces, Three Voices 163
- Chapter 13 Imitation in Three Voices 169
- Real imitation 170
- Tonal imitation 173
- The writing of answers 182
- Chapter 14 The Three-Part Invention; the Trio Sonata 185
- Exceptional features 189
- Analysis of an entire invention 189
- The trio sonata 192
- Baroque duo sonatas of similar design 197
- Chapter 15 Fugue 201
- The subject 202
- The answer 205
- The three-voice fugue exposition 205
- Four-voice counterpoint 208
- The four-voice fugue exposition 209
- The subject as related to the material that follows it 213
- The subject as related to the answer; the stretto fugue 215
- Special devices as used in the exposition 216
- The counterexposition 217
- Chapter 16 Fugue (Continued) 219
- Episodes 219
- Middle entries 221
- Special devices as applied to the middle entries 222
- The final portion 224
- The fugue as a whole 227
- The scholastic fugue 233
- Other types of fugal design 235
- Chapter 17 Fugue (Concluded) 237
- The five-voice fugue 237
- Fugues of six or more voices 238
- The two-voice fugue 239
- The double fugue 240
- The triple fugue 243
- Fugues with more than three subjects 245
- The fughetta and the fugato 245
- The concert fugue 246
- The fugue fantasia 246
- The group fugue 246
- Fugue writing as affected by the medium 247
- Chapter 18 Forms Based on the Chorale 249
- The chorale prelude 250
- Use of the chorale melody in various voices 264
- Chorale variations 265
- The chorale fantasia 268
- The chorale fugue 268
- Chapter 19 Contrapuntal Variation Forms 270
- Cantus firmus variation types: the ground, the passacaglia, and the chaconne 270
- Theme and variations 276.
- Notes:
- Includes index.
- Bibliography: pages 279-280.
- ISBN:
- 0131842358
- OCLC:
- 13668810
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