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In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically interdependent yet independent in rhythm and melodic contour. [1] The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note".
While targeting "English language students and researchers" (p. 45), an abridged version of the grammar was released in 2002, Longman Student Grammar of Spoken and Written English, together with a workbook entitled Longman Student Grammar of Spoken and Written English Workbook, to be used by students on university and teacher-training courses.
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 the 13th century, the technique was used by English composers of the Worcester school as a structural device. [2] In the genre rondellus, as described by the theorist Walter Odington (c. 1300), the central part of the piece was based entirely on voice exchange. Ordinarily, but not always, the text is exchanged along with the melody. [10]
A theme is stated, then developed, pushed out of shape, imperceptibly deformed, until, though still recognizably the same, it has become quite different. . . . Get this into a novel. How? The abrupt transitions are easy enough. All you need is a sufficiency of characters and parallel, contrapuntal plots. . . . You alternate the theme.
The first published English grammar was a Pamphlet for Grammar of 1586, written by William Bullokar with the stated goal of demonstrating that English was just as rule-based as Latin. Bullokar's grammar was faithfully modeled on William Lily's Latin grammar, Rudimenta Grammatices (1534), used in English schools at that time, having been ...
Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the species terminology of counterpoint, [clarification needed] polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in ...
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.).