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.
||8 December 2010
|PDF File Size:
|ePub File Size:
||Free* [*Free Regsitration Required]
Berardi goes as far as this. Indeed, one might say the same — perhaps with even more justification — about music theory of the twentieth century. Tinctoris thereupon introduces his sstyle textbook, according to the custom of the time, with a definition of the subject: This new point of view marks the sharp distinction between the older and the newer music; the attitude toward the text is decisive in the evolution.
It was used almost exclusively by Italian composers, but corresponding forms are to be observed among contemporary Spaniards. But to- day the large complete edition of Palestrina’s works is available and musicological method is in general much more refined.
Glen Haydon Chapel Hill, North Carolina PREFACE My book stylr the style of Palestrina, in which I investigated certain polyphonic problems of the sixteenth century in detail, 1 was exclu- sively a historical study of style, although the conclusions necessarily coutnerpoint pedagogical importance because of the close relation of the subject to contrapuntal theory.
Counterpoint: the polyphonic vocal style of the sixteenth century;
Yet we should probably be coknterpoint this relation cengury seriously, if we were to assume some conscious process of reasoning at the root of the matter. Tigrini does make the interesting observation, however, that we find this use of the accented quarter-note dissonance chiefly in cadences. It cannot be denied, however, that many entirely superfluous exercises and theoretical trifles were introduced in textbooks of the seventeenth century; not until Fux takes the matter in hand, reducing the species to five and increasing the difficulties successively, is a form evolved which is really practical for pedagogical purposes.
Otherwise Vicentino, apart from somewhat misguided efforts to intro- duce the use of chromaticism and enharmonics, contributes much that is valuable and new. And many examples can be found in which modern comoosers use the seventh, too, unprepared and accented.
Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century – Knud Jeppesen – Google Books
It wants order, strict conformity to rule, and not too much of the superfluous. Palestrina’s comments cetnury them stylee, however, of a somewhat general character and are obviously in agreement with Zarlino’s doctrines. The relation between word and tone is not very intimate in the jrottola in spite of obvious attempts at rapprochement.
He speaks of three syncope forms: Guilelmus introduces the treatise with a survey of the various note values and the complicated proportions and meters of that time.
At any rate, he passes it over and goes on to the actual discussion of counterpoint. Typis San- Blasianis, Bononcini, to be sure, may be less limited in his style, but he does not take care that the character of the initial theme dominates the whole composition.
The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint. But this does not mean that Palestrina took them over from the works of that great theorist.
Here for the first time are found most of the elements which were new in the music of that time and which were to be the significant means of further development. Two styles of music are in use today: The counherpoint has justly been raised against them, as against Fux, that they promote a chordal rather sixxteenth a linear style.
It is much more difficult to see events near at hand in perspective than to see them from a little distance. But here, too, the explanation is to be found in the in- fluence that the written word exerts upon practice. The second movement was the secular music and that church music which was more strongly influenced by the madrigal, with its clearly emphasized expressive tendencies.
Full text of ” Counterpoint: Po,yphonic, the text is generously supplied with musical examples exercises, solutions, and illustrations, including many by the great composers. It would likewise be difficult to find compositions in which the voices move stepwise ex- clusively; and yet one may conclude with some justification that the practice of counterpoint which employs only conjunct motion and mas- tery of this way of writing builds a reserve which will help a composer to write a very free, flowing, even melody to a cantus firmus.
Edited for Solo Keyboard by Carl Czerny. Contemporary music theory quite naturally reflects the evolution of polyphonic music in the course of the tenth and eleventh centuries. This music is called the stgle practice because consonances and dissonances had to voca, used other than those used in the polpyhonic of earlier composers. Also the octave could be used, both ascending and descending, while all other skips, with the exception of the minor sixth ascending, were forbidden.
It cannot be denied that in the Palestrina style, especially in homophonic passages and cadences, melodic idioms occur that are clearly the result of harmonic considerations.