COUNTERPOINT THE POLYPHONIC VOCAL STYLE OF THE SIXTEENTH CENTURY PDF

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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.

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Five Graphic Music Analyses. For that matter, similar passages occur in every kind of style — and not least in Bach’s. Kirnberger examines Fux’s method in connection with the music of his own time and rejects it because polypuonic does not correspond.

Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century

Of all the tasks of music theory, among the most important is that of making us as vividly conscious as possible of what we are really trying to do, and of how countless are the possibilities inherent in even the simplest musical means.

On the other hand I have found that, in Palestrina’s style, the vertical, harmonic requirements assume merely the exclusively con- sonant, full harmony of the chords, in which modulatory relations play only a small part. On proper voice leading or melodic considerations, he wastes no words. Eastman School of Music, University of Rochester, Instead Fux continues quite sys- tematically and in the second species sets two half notes to each whole note in the cantus firmus.

Counterpoint: the polyphonic vocal style of the sixteenth century;

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. Best known is the hypothesis of Hugo Riemann, which concludes from the assumption that most of the music of the fifteenth century was intended for instruments, that the evolution took place when people gradually went over to vocal performance of compositions, and various so-called “instrumentalisms” idioms which Riemann conceives as having been designed especially for instruments proved impractical because they were not suited to the nature of the human voice; and that the greater importance the singing voice attained in the process of evolu- tion, the more the instrumental idioms were suppressed until they finally disappeared entirely.

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He speaks of three syncope forms: One cannot properly declare a textbook outmoded until another pedagogical work appears that performs XIV PREFACE the ciunterpoint tasks better, that is, produces the same musical values in fuller measure. In the Middle Ages and dur- ing a part of more modern times, counterpoint meant quite simply the same as polyphony.

Among them are Dunstable, Dufay, Binchois, Ockeghem, and Busnois and, in intimate relation with the practice of these musicians, the first great theorist in the modern sense, the Fleming, Johannes de Verwere, or Tinctoris, as his name is written in Latin. During the sixteenth century the rule concerning the step- wise treatment of the sixteengh became stricter.

We find also several other important melodic-rhythmic rules which apparently are not stated else- where until later in the seventeenth century: But this does not mean that Palestrina took them over from the works of that great theorist.

Indeed it can still be heard in southern Europe, when people without musical training improvise in several parts.

Counterpoint: the polyphonic vocal style of the sixteenth century; ( edition) | Open Library

In the sixteenth century, as has been said, two movements made them- selves felt. It can hardly be denied that a style such as that of the first example on page which, to be sure, does not come from Fux is markedly linear.

These dissonances afford the musician two among other counnterpoint possibilities of significant value: Although this manu- script as a sjxteenth is not remarkable, it does contain some passages which are surprising in their independence.

In the third and last part of the work, eight principal rules of counter- point are finally stated, of which the content is substantially as follows: This art form, which had been most zealously cultivated during the preceding centuries by the English, French, and Netherlanders, was transplanted to Italy.

Only as a last resort, therefore, should composers choose cantus firmi which invite melodic idioms like the redicta. Closely related to the innermost nature of music, it embodies one of the oldest and most profound musical ideas. As a result, in musical siixteenth there has arisen an entirely new discipline: Instances occur less often in which dissonances aixteenth introduced or quitted by skips of a third or the like, and in the Palestrina style this rule was strictly followed with only one apparent exception: Not vocak aboutwhen modern music begins, is its force broken.

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This dissertation is in Latin, like most of the literature on musical theory of countegpoint time. Tinctoris further considers it bad to return after a dissonance to the preceding consonance. That Palestrina was a kind of conservatory director in Rome is, to be sure, only a legend; however, it has been proved that several of the important masters of the generation immediately following him were instructed and trained by him.

Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century : Knud Jeppesen :

But, according to their professional thee, they formulate these rules in an all too categorical and inelastic manner. Jadassohn, and Hugo Riemann, chose the art of Bach as its stylistic basis. We are faced with a further choice in contrapuntal theory: Posterity has rightly called him “the great imitator of nature” and indeed a gifted naturalness is expressed in all his works, a sure feeling for the occasional, the easily comprehensible, in short, for classical expression.

In the first case it is referred to as res facta; in the second, the manner of performing is called super librum cantare to sing over the book.

And if we examine these secular songs with French and Flemish texts, printed during, and and composed by such masters as Crequillon, Janluys, Petit, Jean de Lattre, Baston, Clemens non Papa, Ricourt, Josquin, Adrian, Verdelot, and many other composers of various polyphhonic, we find here, too, very little difference between secular songs and sacred compositions.