Relevant bibliographies by topics / Contrapuntal techniques

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  2. Dissertations / Theses
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Academic literature on the topic 'Contrapuntal techniques'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Contrapuntal techniques"

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Cumming, Julie E. "Composing Imitative Counterpoint around a Cantus Firmus: Two Motets by Heinrich Isaac." Journal of Musicology 28, no. 3 (2011): 231–88. http://dx.doi.org/10.1525/jm.2011.28.3.231.

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In the decades around 1500 composers learned to combine the new style of imitative polyphony with the older practice of basing a work on a cantus firmus. By applying Peter Schubert’s technique of modular analysis and his descriptions of common contrapuntal techniques to Heinrich Isaac's Inviolata integra et casta es Maria and Alma redemptoris mater, we can learn a great deal about compositional process in the period. Inviolata, which features a cantus firmus in strict canon after two measures, consists of two-, three-, and four-voice modules. Moreover, understanding the modular construction of
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MELAMED, DANIEL R. "Counterpoint in Mozart’s Die Entführung aus dem Serail." Cambridge Opera Journal 20, no. 1 (2008): 25–51. http://dx.doi.org/10.1017/s0954586708002395.

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ABSTRACTCounterpoint plays a surprisingly large role in the musical language of Mozart’s Die Entführung au dem Serail. In solo material for the deep bass voice of the character Osmin Mozart suggested contapuntal relationships with other parts to give the vocal line independence from the instrumental bass. In ensemble numbers like Osmin and Blonde’s duet No. 9 the composer strongly suggested a contrapuntal relationship between lines sung by antagonistic characters. In Osmin and Belmonte’s duet No. 2, represented in the sources in a nearly complete sketch, Mozard used numerous contrapuntal techn
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Reynolds, Christopher A. "The Counterpoint of Allusion in Fifteenth-Century Masses." Journal of the American Musicological Society 45, no. 2 (1992): 228–60. http://dx.doi.org/10.2307/831448.

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This study examines the likelihood that the contrapuntal voices of fifteenth-century Masses quoted or alluded to chansons unrelated to the chanson cited in the tenor. Often these melodic quotations or allusions in turn alluded to the unsung chanson text, in order to offer modern interpretive commentary on the sung Mass text or an elaboration of the textual idea expressed in the tenor. Examples come from works of Dufay, Ockeghem, Busnois, Caron, and others. The relationship of this technique to the rhetorical practices of the time is examined. A comparison to earlier musical and rhetorical tech
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Collins, Denis. "Zelenka and the Combinative Impulse: Contrapuntal Techniques in the Miserere in D Minor, ZWV 56." Musicology Australia 41, no. 2 (2019): 199–225. http://dx.doi.org/10.1080/08145857.2019.1703488.

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Монич, М. Л. "Contrapuntal Probes As a Special Type of a Music Manuscript." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 57–82. http://dx.doi.org/10.26156/om.2021.13.1.003.

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В середине 1870-х — начале 1880-х годов С. И. Танеев, воодушевленный идеей поиска «русского стиля», активно пополняет теоретические знания в области контрапункта и практикуется в полифонической работе с национальным мелодическим материалом: песенным фольклором и православными церковными напевами. В результате этой деятельности появляются многочисленные рукописи с контрапунктическими опытами, направленными не только на самообучение, но и на создание музыкальных произведений. Материалом для настоящей статьи стали документы указанного периода творчества композитора — черновые автографы к неоконче
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Sallis, Friedemann. "Glenn Gould's Idea of North and the production of place in music." Articles 25, no. 1-2 (2012): 113–37. http://dx.doi.org/10.7202/1013308ar.

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This paper will examine the notion that music can create a sense of place and identity. The object of study is Glenn Gould'sIdea of North,which is made up primarily of texts extracted from interviews. Gould manipulated this material using techniques and concepts to produce what he would later call contrapuntal radio. It was through this technical manipulation, as much as through the content of the texts themselves, that Gould was able to express his 'idea of north'. A critical examination of thesemusicaltechniques provides an interesting example of how music is able to produce a sense of place
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Solecka, Joanna. "Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?" Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 25–68. http://dx.doi.org/10.4467/23537094kmmuj.20.042.13915.

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The fourteen sonatas for two harpsichords from the collection Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini (British Library of London, shelf mark: Ms. Add. 31501, I) are unique examples of double partimento. Few performers have taken up these works so far; they deserve much more attention. Employing contrapuntal techniques in their execution offers very interesting possibilities. The author describes and presents her own polyphonic interpretations of selected pieces from this collection: Sonata II mm. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m.
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Canguilhem, Philippe, and Alexander Stalarow. "SINGING UPON THE BOOK ACCORDING TO VICENTE LUSITANO." Early Music History 30 (September 8, 2011): 55–103. http://dx.doi.org/10.1017/s0261127911000052.

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Towards the middle of the sixteenth century, the Portuguese composer and theorist Vicente Lusitano wrote a manuscript treatise on improvised counterpoint which constitutes the most thorough and detailed explanation that has survived on the subject. This manuscript has long been overlooked by music historians, despite being easily accessible at the Bibliothèque nationale de France (Paris). The manuscript is described and its history traced. Lusitano's rules, techniques and stylistic advice are investigated and compared with contemporary theory. The extraordinary complexity of the contrapuntal l
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Янкус, А. И. "The Vertical Construction in Canons from Bach’s Goldberg Variations (BWV 988; BWV 1087): Some Aspects." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 120–40. http://dx.doi.org/10.26156/om.2020.12.5.008.

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В статье сопоставлены две группы канонов И. С. Баха из Гольдберг-вариаций (BWV 988 и BWV 1087): собственно каноны-вариации и 14 зашифрованных бесконечных канонов на восемь начальных басовых нот Арии — темы вариационного цикла. Объектом сравнения выступила гармония как один из основных общескрепляющих элементов вариационного цикла. Опора вариаций на сохраняемую гармонию требует специфических решений при построении канонов: об интервалах, направлении и времени вступления, об их сорасположении, о прямом и инверсионном движении, наконец, о точности воспроизведения басовой мелодии, в том числе о фи
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Lister, Rodney. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (2004): 53–55. http://dx.doi.org/10.1017/s0040298204230054.

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At its best, Judith Weirs's music makes use of very simple and clear musical ideas with great wit to great effect. This quality is most apparent in pieces which have some dramatic, or at least extra-musical aspect, often connected with some type of folklore or folk music. When the music becomes more abstract, it can also be less lively and less appealing. The Composer Portrait concert which was presented as a preface to the UK première at the Proms on 7 August of her orchestral piece The Welcome Arrival of Rain contained examples of both of these sides of the composer's work. Distance and Ench
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Dissertations / Theses on the topic "Contrapuntal techniques"

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Cranford, Dennis R. (Dennis Ray). "Harmonic and Contrapuntal Techniques in the Late Keyboard Works of Cesar Franck." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279361/.

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This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.
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Books on the topic "Contrapuntal techniques"

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Clendinning, Jane Piper. Contrapuntal techniques in the music of Gyorgy Ligeti: A dissertation presented to the Faculty of the Graduate School of Yale University in candidacy for the degree of Doctor of Philosophy, May 1989. UMI Dissertation Services, 1999.

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Reed, H. Owen, and Greg A. Steinke. Basic Contrapuntal Techniques: An Introduction to Linear Style Through Creative Writing, Revised Edition (Book & Two CDs). Warner Bros. Publications, 2004.

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Morris, Reginald Owen. Contrapuntal Technique in the Sixteenth Century. Library Reprints, 2001.

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Levy, Benjamin R. Compositional Flourishing (1967–70). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0007.

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Having codified a repertoire of personalized techniques, Ligeti deployed them in many new combinations in an extremely productive period at the end of the 1960s. Works composed in this period include Continuum, Two Études for Organ, String Quartet no. 2, Ten Pieces for Wind Quintet, Ramifications, and the Chamber Concerto. This chapter looks at the contrapuntal techniques that built on the composer’s previous practice as well as those derived from harmonic networks. The latter allowed Ligeti to move away from the cluster-based harmonic palate characteristic of his earlier works. In these works
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Lowe, Melanie. Amateur Topical Competencies. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0024.

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This chapter considers the topical competency of late eighteenth-century amateur players and listeners. Focus is on selected string quartets by Haydn, Mozart, and Pleyel. The analytical strategy is comparative, and therefore the analyses are limited to movements governed by clearly defined topics. The troping of learned and galant elements is the focus of discussion of three minuet movements, all of which incorporate contrapuntal techniques to varying structural and expressive ends. Parametric density is the focus of discussion of fourchassemovements. In both sets of examples, issues considere
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Schiff, David. Macro Carter / Micro Carter (1983–1999). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0009.

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In the 1980s Carter began to produce two distinct streams of music: large-scale works extending the techniques of the previous decade, and miniatures that forecast the style of his later compositions, big and small. Expanding on the two voice substructure of Night Fantasies, the large scale works of this decade systematically explore contrapuntal designs with three, four, or five components. While the early short works present similar designs in miniature, later ones take on a more informal, improvisatory character. With a change from an American to a British publisher, most commissions now ca
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Schiff, David. Turning Points (1945–1948). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0006.

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Until the appearance of his Piano Sonata in 1946, and Sonata for Violoncello and Piano in 1948 Carter seemed to lack a distinctive voice. Aaron Copland, a close friend, taunted Carter about the “difficulty” of works that Carter had tried to make accessible, and did not mention Carter in an important 1948 article on emerging composers. Carter’s music at this time, however, was moving in new directions. The two sonatas for the first time deploy the distinctive formal and contrapuntal techniques of his mature style. Their idioms also reflect Carter’s realignment with ultra-modernism in his renewe
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Book chapters on the topic "Contrapuntal techniques"

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Bernstein, Zachary. "The Seam in Babbitt’s Compositional Development." In Thinking In and About Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.003.0003.

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The years around 1960 saw Babbitt’s style change in three critical ways: he adopted the time-point system, began writing electronic music, and started using all-partition, rather than trichordal, arrays. The pivotal piece in these developments is Composition for Tenor and Six Instruments. A close analysis of this piece in light of its predecessors and its successors is revealing about a range of Babbitt’s priorities, and it provides a case study of his views on perception and cognition. During the preceding decade, Babbitt had pursued a growing interest in contrapuntal complexity, including four techniques detailed in this chapter. These techniques form the basis of Composition for Tenor and Six Instruments. Yet Babbitt felt that he had pushed contrapuntal complexity too far. The all-partition array—with complex counterpoint but simple lines—was a solution that balanced his competing aesthetic desires. The work also sheds light on Babbitt’s early use of the time-point system.
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McManus, Laurie. "Imperatives of Purity and Sensuality." In Brahms in the Priesthood of Art. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.003.0002.

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This chapter analyzes the factors contributing to the debates over musical purity and sensuality that had formed a significant thread of music criticism by the early 1850s, when Brahms began his career. The construction of purity developed in two interrelated ways: First, through the German Romantic valuation of music from Bach and earlier; this early music’s contrapuntal techniques and mostly diatonic harmony were praised as pure and moral by a range of commentators from E. T. A. Hoffmann to Justus Thibaut to Dominicus Mettenleiter. Second, in Eduard Hanslick’s famous 1854 treatise, Vom Musikalisch-Schönen, he attempted to divorce music from its extra-musical and political contexts; nonetheless, his argument retained the connotations of moral superiority while claiming purity for contemporary instrumental music. Pure music stood in opposition to Wagnerian sensuality, a Young Hegelian development that presented revisionist notions not only of opera but also of music’s meaning and communicative power. In this context, ideas of musical purity came under fire just as Brahms began his compositional career.
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Berg, Christopher. "Counterpoint." In The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0009.

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The technique required to perform counterpoint convincingly on the guitar is not idiomatic to the instrument. Left-hand fingers must be able to sustain one note while other fingers move to form other notes. In order to take advantage of the instrument’s contrapuntal capabilities, guitarists need to design meticulous fingerings that are connected to musical intent for both hands. This chapter first looks at two-voice pieces by Enriquez de Valderrabano, Mauro Giuliani, Marco Aurelio Zani de Ferranti, and Dionisio Aguado and then proceeds to explore pieces by Fernando Sor that make use of freistimmigkeit textures. The chapter concludes with a recercar by Giovanni Maria da Crema and four fantasias by Francesco da Milano, the latter being some of the finest sixteenth-century lute music. Music in this chapter requires increasingly developed left-hand finger independence.
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Earlie, Paul. "Conclusion." In Derrida and the Legacy of Psychoanalysis. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869276.003.0007.

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The Conclusion addresses the shared impossibility of legacy in Freud and Derrida by exploring a number of key differences between psychoanalysis and deconstruction. For Freud, psychoanalysis is interminable because the work of understanding one’s past is always exposed to an unpredictability that haunts the calculating technique of the analyst. For different reasons, Derrida figures deconstruction as an endless task, though one not without implications for the interminability of psychoanalysis. In this vein, the Conclusion examines a term privileged by both Derrida and Freud: ‘resistance’. For Derrida, the irreducible resistance of Freud’s legacy to interpretation has consequences for how we should engage with this legacy, explored here with respect to Lacan’s contrapuntal inheritance of Freud. This resistance also has consequences, however, for how we should engage with Derrida’s work today and for ongoing debates over the linguistic-materialist legacy of deconstruction.
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