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Species counterpoint generally offers less freedom to the composer than other types of counterpoint and therefore is called a "strict" counterpoint. The student gradually attains the ability to write free counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the given rules at the time ...
[1] [2] [3] Only in the 16th century did the word "canon" begin to be used to describe the strict, imitative texture created by such a procedure. [2] The word is derived from the Greek "κανών", Latinised as canon, which means "law" or "norm". In contrapuntal usage, the word refers to the "rule" explaining the number of parts, places of ...
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis).For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, which is concerned with scale-steps (see Harmony).
When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently:
The six-part fugue in the "Ricercar a 6" from The Musical Offering, in the hand of Johann Sebastian BachIn classical music, a fugue (/ f juː ɡ /, from Latin fuga, meaning "flight" or "escape" [1]) is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches ...
The second part, on Musica Pratica, is the section of this treatise where the author presents his instruction on counterpoint, fugue, double counterpoint, a brief essay on musical taste, and his ideas on composing sacred music, writing in the a cappella and in the recitativo style. This part is in the form of a dialog, between a master ...
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The opening line shows the lyrical use of imitative counterpoint. The work was composed during Josquin des Prez's service at the North Italian court at Milan. It was initially thought to have been copied into the manuscript Munich 3154 by 1476. [1] Subsequent work by Joshua Rifkin established the date of publication to about 1485. [2]