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- catalog contributor b3404164.
- catalog created "c1992.".
- catalog date "1992".
- catalog date "c1992.".
- catalog dateCopyrighted "c1992.".
- catalog description "Discography: p. 371-374.".
- catalog description "Includes bibliographical references (p. 375-377) and index.".
- catalog description "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.".
- catalog description "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. ".
- catalog description "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. ".
- catalog extent "x, 389 p. :".
- catalog hasFormat "Modal and tonal counterpoint.".
- catalog identifier "0028721454".
- catalog isFormatOf "Modal and tonal counterpoint.".
- catalog issued "1992".
- catalog issued "c1992.".
- catalog language "eng".
- catalog publisher "New York : Schirmer Books : Maxwell Macmillan International,".
- catalog relation "Modal and tonal counterpoint.".
- catalog subject "781.2/86/09 20".
- catalog subject "Counterpoint History.".
- catalog subject "Counterpoint.".
- catalog subject "MT55 .O97 1992".
- catalog tableOfContents "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.".
- catalog tableOfContents "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. ".
- catalog tableOfContents "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. ".
- catalog title "Modal and tonal counterpoint : from Josquin to Stravinsky / Harold Owen.".
- catalog type "History. fast".
- catalog type "text".