Modal and Tonal Counterpoint: From Josquin to Stravinsky

Contents

• Preface. 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 I nventions.
• 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.