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Index
Title Page Dedication Copyright Page Contents Foreword by Alfred Mann Introduction to The English Translation Preface Part I: Preliminaries
I. OUTLINE HISTORY OF CONTRAPUNTAL THEORY
Counterpoint and Harmony Contrasted The Ninth to the Fourteenth Centuries: The Beginnings of Contrapuntal Theory The Fifteenth Century: Crystallization of Principles The Sixteenth Century: The Style of Palestrina The Seventeenth Century: Some Pedagogical Developments The Eighteenth Century: The Style of Bach The Nineteenth Century: Palestrina or Bach? The “Palestrina Movement” after Fux
II. Technical Features
Notation The Ecclesiastical Modes Melody Harmony
Part II: Contrapuntal Exercises
Introduction III. Two-Part Counterpoint
First Species Second Species Third Species Fourth Species Fifth Species Free Two-Part Counterpoint Imitation
IV. Three-Part Counterpoint
First Species Second Species Third Species Fourth Species Fifth Species Imitation
V. Four-Part Counterpoint
First Species Second Species Third Species Fourth Species Fifth Species Imitation
VI. Counterpoint in More Than Four Parts VII. The Canon VIII. The Motet IX. The Mass
Appendix
The Vocal Fugue Double, Triple, and Quadruple Counterpoint Summary of The Most Important Contrapuntal Laws and Rules Melody Consonant Combinations Dissonant Combinations
Index
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