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Dissonant counterpoint was originally theorized by Charles Seeger as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint must be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved ...
While Gradus ad Parnassum is famous as the origin of the term "species counterpoint", Fux was not the first one to invent the idea. In 1610, Girolamo Diruta , a composer of the Venetian school , published Il Transilvano , which presented the Renaissance polyphonic style as a series of types: one note against one note, two notes against one note ...
Some of the rods are used for counterpoint in the "simple style" (or first-species counterpoint) in which all 4 parts have the same rhythm, and others are used for what Kircher calls the "florid style" (or fifth-species counterpoint), in which the 4 voices move independently. [3]
Counterpoint (Kontrapunkt in the original German) is the second volume of Heinrich Schenker's New Musical Theories and Fantasies (the first is Harmony and the third is Free Composition). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint.
In species counterpoint, the dissonant cambiata can be called an idiom in that it is considered an acceptable pattern even though it breaks a rule, in this case, that of skipping from a dissonance. The dissonance in the dissonant cambiata is approached by descending step and occurs on a weak half or quarter of the beat; the skip from the ...
4th chapter of ITT is devoted to species counterpoint, an old western tradition of composing music consisting of simple lines with uniform rhythm. Westergaard presented formal grammars to construct/parse species lines. According to him, there are three types of lines: primary line, generic line, and the bass line.
Using a cantus firmus as a means of teaching species counterpoint was the basis of Gradus ad Parnassum by Johann Joseph Fux, although the method was first published by Girolamo Diruta in 1610. [citation needed] Counterpoint is still taught routinely using a method adapted from Fux, and based on the cantus firmus.
However, parallel motion in perfect consonances (P1, P5, P8) is strictly forbidden in species counterpoint instruction (1725–present), [2] and during the common practice period, consecutive fifths were strongly discouraged.