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Tuesday, July 28, 2020 | History

2 edition of Haupt"s theory of counterpoint, fugue and double counterpoint found in the catalog.

Haupt"s theory of counterpoint, fugue and double counterpoint

August Haupt

Haupt"s theory of counterpoint, fugue and double counterpoint

prepared expressly for the Royal Institute for Church Music at Berlin, Prussia

by August Haupt

  • 377 Want to read
  • 7 Currently reading

Published by G. Schirmer in New York .
Written in English

    Subjects:
  • Counterpoint,
  • Fugue

  • Edition Notes

    Statementby August Haupt. Translated from the original manuscript by H. Clarence Eddy.
    ContributionsEddy, Clarence, 1851-1937.
    The Physical Object
    Pagination79 p.
    Number of Pages79
    ID Numbers
    Open LibraryOL19754969M

    X rated it really liked it Recommended to X by: The second part, on Musica Praticais 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 Style A Cappella and in the Recitativo Style. Work Title Catechism on Double Counterpoint and Fugue Alt ernative. Title Hamilton's Catechism on Double Counterpoint and Fugue with Illustrations and Examples from the theoretical works of Albrechtsberger, Reicha, Marpurg, Choron, Beethoven.

    counterpoint as exemplified in the works of J. S. Bach. A thorough grasp of tonal harmony is essential before attempting to study this book.1 There are, however, some aspects of chromatic harmony that do not have to be applied in this study: such chords. Traité de contrepoint et de fugue Alt ernative. Title Treatise on counterpoint and fugue Composer Dubois, Théodore: I-Catalogue Number I-Cat. No. ITD 93 Movements/Sections Mov'ts/Sec's: 4 parts: Partie I: contrepoint simple Partie II: imitations Partie III: contrepoint double, triple et quadruple; Partie IV: fugue First Pub lication.

    COUNTERPOINT BASED ON EIGHTEENTH CENTURY PRACTICE and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The Penis Book Double Fudge Brownie Murder Mark Twain's Letters Volume CHAPTER 1. OUTLINE HISTORY OF CONTRAPUNTAL THEORY. THE WORD counterpoint presumably originated in the beginning of the fourteenth century and was derived from punctus contra punc-tum, "point against point" or "note against note.". COUNTERPOINT AND HARMONY CONTRASTED. When we use this expression today, we have a much more concrete, well-defined .


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Haupt"s theory of counterpoint, fugue and double counterpoint by August Haupt Download PDF EPUB FB2

Haupt's theory of counterpoint, fugue, and double counterpoint: Prepared expressly for the Royal institute for church music, at Berlin, Prussia [Haupt, Karl August] on *FREE* shipping on qualifying offers.

Haupt's theory of counterpoint, fugue, and double counterpoint: Prepared expressly for the Royal institute for church music. Haupt's Theory Of Counterpoint, Fugue, And Double Counterpoint: Prepared Expressly For The Royal Institute For Church Music, At Berlin, Prussia () [August Haupt, H.

Clarence Eddy] on *FREE* shipping on qualifying offers. This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections fugue and double counterpoint book as marks. Get this from a library. Haupt's theory of counterpoint, fugue, and double counterpoint, prepared expressly for the Royal institute for church music, at Berlin, Prussia.

[August Haupt; Clarence Eddy]. Richard Atkinson analyzes the amazing counterpoint of the D major fugue from The Well-Tempered Clavier, Book II, by J. Bach. This is a fair use educational commentary that uses a. Species Counterpoint Double and Multiple Counterpoint Contrapuntal Forms Canon Fugue.

Fugue is sometimes considered to be the goal of contrapuntal study. Its definition may vary, depending upon the person asked but this book will consider three definitions.

Fugue. There are two kinds of double (triple) fugue: (a) a fugue in which the second (third) subject is (are) presented simultaneously with the subject in the exposition (e.g. as in Kyrie Eleison of Mozart's Requiem in D minor or the fugue of Bach's Passacaglia and Fugue in C minor, BWV ), and (b) a fugue in which all subjects have their own.

counterpoint has bred ingrown academic traditions whose relevance to musical practice often seems painfully limited. For example, I recently taught fugue to a good graduate of a major European conservatory, and discovered that his experience of counterpoint was limited to three years of exercises in 4/4 time with canti in whole notes.

While. Example of what might be done with double counterpoint at the octave. Thanks to Anachromancer, who helped me rediscover the source of the c.f. (shortened from 6. In short, this book is more about the "why" of counterpoint than the "what".

The pedagogy of counterpoint The pedagogy of counterpoint is often a confused mixture of style and method. Most approaches limit themselves more or less closely to one style, and make some attempt at graduated exercises, often derived from the species method of Fux.

In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour.

As a compositional technique, counterpoint is found in many musical styles including Medieval music, gamelan, [not verified in body] and the music of West Africa. [not verified in body] Within the context of Western. As SADuncan said, it's not finished (it stops at basic 3-voiced counterpoint), and there's plenty more to be said, but it does touch upon advanced topics such as double counterpoint (a bit), and in its later chapters, does quote Bach, who is all along the "goal", extensively.

I wish everyone reading this would check it out. In Austrian composer, music theorist and pedagogue Johann Joseph Fux published in Vienna Gradus ad Parnassum, a treatise on counterpoint in the Palestrina style of Renaissance polyphony.

Fux divided Gradus ad Parnassum into two parts: "In the first part, Fux presents a summary of the theory on Musica Speculativa, or the analysis of intervals as proportions between numbers.

Short answer: The fugue is at its core a rather straightforward, highly procedural approach to writing. It's essentially a set of rules and procedures for developing one or more short themes using canons.

But creating vibrant, interesting, communi. My understanding is that the most common historical theory is Beethoven was offended by Haydn's criticism of his early published works. Instruction in Fuxian-style counterpoint lessons was pretty standard at that time, so it's hard to imagine Beethoven would have been surprised by that type of exercise.

– Athanasius Dec 5 '19 at Bach's music is famous for its counterpoint; there are fugues aplenty making counterpoint every which way. But take any of Bach's fugues and you can easily analyze its harmonies as well. Even from one melody alone, you can figure out the implied melodies, but in a 4-part fugue.

Serge Ivanovitch Taneiev was a great teacher of composition in Russia, having taught the great Russian composers and influenced scores of other musicians. Names like Serge Rachmaninoff, Leonid Sabaneiev, Lazare Saminsky, Walter Piston, Philip Greely Clapp, Igor Stravinsky, Tchaikofsky, and Serge Koussevitzky, who wrote the Introduction to this large volume.5/5(3).

Revolving around the theme of “counterpoint” extensively used by Edward Said as the interplay of diverse ideas and discrepant experiences, this book aims to explore Said’s contribution to the fields of comparative literature, literary criticism, postcolonial theory, exilic and transnational studies, and socio-political thought among many others.

Students today have grown up in the age of digital technology. As a result, they process information in radically different ways than preceding generations. They like their information fast and consider visual images as important as textual content. In Tonal Counterpoint for the 21st-Century Musician, Teresa Davidian finally provides students a textbook that is quick, direct, and visual—a.

Johann Joseph Fux (German: ; c. – 13 February ) was an Austrian composer, music theorist and pedagogue of the late Baroque era. He is most famous as the author of Gradus ad Parnassum, a treatise on counterpoint, which has become the single most influential book on the Palestrinian style of Renaissance all modern courses on Renaissance counterpoint, a mainstay of.

The second part, on Musica Praticais 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 Style A Cappella and in the Recitativo Style.

IC IC12 and Harmony. A Bach Story. Double Counterpoint in Three Parts. Invertible Counterpoint at the Octave and Tenth. Invertible Couterpoint at the Tenth and Twelfth. Double Counterpoint in Four Parts: IC8, 10, and Triple and Quadruple Counterpoint. Composing Boxes of Artful Devices First and Unpacking the Boxes.

Uninverted Double.4. Florid counterpoint is often seen as the culmination of the study of species counterpoint. That view harks back to the notion that the main purpose of studying counterpoint is to learn how to compose.

Indeed, the work in florid composition can be very useful in developing the fluency that can lead to writing canon and fugue.A fugue then is like the perfect balance between the liquidity of free counterpoint and the predictability of subject entries. My counterpoint skills are good.

I can take a melody and write another melody that is contrapuntally compatible.