Modal and Tonal Counterpoint: From Josquin to Stravinsky

Modal and Tonal Counterpoint : From Josquin to Stravinsky 1/E by Harold Owen

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 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. 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.