COUNTERPOINT THE POLYPHONIC VOCAL STYLE OF THE SIXTEENTH CENTURY PDF

This classic introductory text focuses on the polyphonic vocal style perfected by Palestrina. Unlike many other texts, it maintains a careful balance between. Counterpoint: the polyphonic vocal style of the sixteenth century / by Knud Jeppeson [sic] ; translated [from the Danish] with an introduction by Glen Haydon . COUNTERPOINT. The Polyphonic Vocal Style of the Sixteenth Century. Knud Jeppesen. Jeppesen. This clau intrusion titles i ilir poliiburi Yul style titted by.

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Also, I consider it advisable to begin with the practice of writing pure one-voice melodies, since it cannot be too strongly emphasized that the linear idea dominates in counterpoint.

Otherwise with respect to the treatment of quarters as dissonances, it is remarkable that the so-called auxiliary notes, 13 which are unusually common in practice, receive only slight attention from the theorists. Otherwise, however, it gives no further thought as to what might sound good together. Eastman School of Music, University of Rochester, One ceentury always earnestly strive in contrapuntal writ- ing for variety and change, by altering the measure or time, using now syncopations, now imitations, and the like.

In Denmark, for example, at the beginning of the past century, pronunciations were common that varied more widely from the older ones than do those of current Danish speech — a fact that might suggest a somewhat peculiar development curve.

The examples contained in the treatise show that Guilclmus was familiar with precisely this form of dissonance treatment; and the rules which he gives accord exactly with the laws observed in practice.

A counterpoint can be constructed either over a cantus firmus in notes of equal length, which is called cantus planus, or over a cantus figuratus, a melody consisting of notes of mixed time values. th

Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century

The requirement 7 Zarlino. Antic sixternth musk a ridotta alia moderna prat- tica, published instates excellently the typical contrapuntal theory of the sixteenth century.

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The Motet IX. But half-note dissonances that move by skip are not allowed at all. In Part One, Knud Jeppesenthe world-renowned musicologist and leading authority on Palestrina, offers a superb outline history of contrapuntal theory. Remarkably enough, however, Hucbald himself does not even observe this rule logically. Musicians did not as yet have sufficient command of the necessary musical means of expression, but they tried persistently, and at any rate learned one thing: It is true, however, ckunterpoint Josquin composes better; he acts, however, according to his own desire and pleasure and not according to the wishes of the people.

On the other hand, it is more remarkable that this technique can assert itself within contrapuntal theory and that it is retained when composers only rarely treat the cantus firmus in such an obvious manner.

Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century

Above all, the teacher as well as the pupil may well seek a much stricter command of the laws of the Palestrina vocall than can be found in Fux. The Cant us Firmus and the Species For modern musicians counterpoint as a pedagogical term is closely associated with the idea of a cantus firmus and the “species.

Not until aboutwhen ths music begins, is its force broken. His critique of every art other than Bach’s was harshly derogatory, yet he did not seem to have a truly critical judgment himself. Following this definition, Tinctoris observes that he wishes first to speak of the consonances, since they play the most important role in counterpoint, whereas dissonances are admitted only here and there.

What Zarlino and the later theorists of the cen- tury have to say about the finer melodic relations is in no wise striking.

And this attitude characterizes especially the music of the later sixteenth century in com- parison with that of a century earlier. Then Berardi presents counterpoint in stepwise, progression, in which skips may not occur at all, and finally a “skipping” counterpoint in countetpoint stepwise movement is forbidden.

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Counterpoint: the polyphonic vocal style of the sixteenth century; ( edition) | Open Library

The course yhe modal counterpoint in the sixteenth century style is in- troduced in the third year of the curriculum in music at the University of North Carolina. Five Graphic Music Analyses. Cipriano de Rore uses the augmented fourth in his madri- gal “Voiche m’invitta amove” at the words, “Dolce mia vita” “My sweet life!

They are thus used as dissonances, a circumstance that accords very well with the fact that throughout the greater part of the Middle Ages they were actually regarded as such and so classified. Especially in Palestrina’s favor in teh connection seems to be the very strict economy of his style.

This danger, we may sup- pose, assailed the beholder of the paintings of the early Middle Ages and the listener to the motets of the ars antiqua.

Counterpoint: the polyphonic vocal style of the sixteenth century;

As a result, in musical theory there has arisen an entirely new discipline: Also with regard to the concept of melody, he took more pains than any theorist before him — just as in general he treated all aspects of technique in a more fundamental way than they were ever treated before. He goes on to speak of the method of composition of the English, the faux- bourdon in modern terms, a style of writing in centuury chords of the sixth.

Thus, the written language, which, in comparison to ordinary spoken language, is always rather unchanging and polyhponic, exercised an influence upon the latter, and caused it to revert to earlier pronunciations.