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e-Book A Practical Approach to 16th Century Counterpoint, Revised Edition download

e-Book A Practical Approach to 16th Century Counterpoint, Revised Edition download

by Robert Gauldin

ISBN: 1478604719
ISBN13: 978-1478604716
Language: English
Publisher: Waveland Press, Inc.; Revised edition (February 28, 2013)
Category: Music
Subategory: Photography

ePub size: 1952 kb
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DJVU size: 1758 kb
Rating: 4.5
Votes: 120
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FREE shipping on qualifying offers. The author follows a didactic method of a "non species or direct" approach. While no previous contrapuntal training is necessary to absorb this material has been added to your Cart.

The orientation is strongly stylistic, dealing mainly with the polyphony of the late Baroque period. Three aspects are stressed throughout: practical work in writing counterpoint, utilizing various textures, devices, and genre of the period; historical background, to establish the origins of different forms and justify the pedagogical method employed here; analysis of selections from music literature, often in voice-leading reductions.

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The author follows a didactic method of a "non species or direct" approach. While no previous contrapuntal training is necessary to absorb this material, some acquaintance with Baroque polyphonic terminology proves helpful. Other readers will always be interested in your opinion of the books you've read.

Gauldin has prepared a book which leads you carefully and methodically through counterpoint. The books assignments are its greatest assest. Because they often build on previous assignments, be sure not to skip any. The lessons are aggressive, but easily followed during self-study.

Published by: Waveland Press, Inc. on 2013-03-04. A Practical Approach to 16th Century Counterpoint. The author has not seemed to grasp the everyday practicalities of Schenker and how this has influenced movie composers who specialize in counterpoint, such as John Williams (Close Encounters) and other greats of the 17th Century. HipHop69, July 30, 2013.

I am in college and needed the book as soon as possible. The shipment was fast and the book is really helpful. It not only explains the topic but gives examples and assignments to do. Download (pdf, . 0 Mb) Donate Read. You may be interested in. A Practical Approach to Eighteenth-Century Counterpoint. Year: 1995. Publisher: Waveland Press.

Practical work in writing counterpoint! Robert Gauldin emphasizes the acquisition of writing skills in the contrapuntal discipline and the simulation of sixteenth century sacred polyphonic idioms in this volume. The author follows a didactic method of a "non species or direct" approach. While no previous contrapuntal training is necessary to absorb this material, some acquaintance with Baroque polyphonic terminology proves helpful.

Key features include: musical examples illustrating specific devices are taken from musical literature or composed by the author; demonstrates the possibility of employing a single given pitch series within the contexts of different compositional techniques; includes a collection of complete or excerpted movements drawn from musical literature at the conclusion of each major textual division; emphasizes Palestrina and the Counter Reformation sacred style; discusses various compositional procedures of the late Renaissance, including paraphrase, cantus firmus, familiar style, parody, polychoral technique, and chromaticism.

Titles of related interest from Waveland Press: Gauldin, A Practical Approach to 18th Century Counterpoint, Revised Edition (ISBN 9781478604709) and Soderlund-Scott, Examples of Gregorian Chant and Sacred Music of the 16th Century (ISBN 9780881339093).

"All of Gauldin's books are clear, readable, and perfectly suited for classroom use or learning on your own."

"Simply the best textbooks on the subject I have ever seen."

"Gauldin covers a range of important and varied topics very efficiently."

"I have been impressed with all of the theory books by Mr. Gauldin. The written explanations are clear, concise, and well supported with musical examples."

"I am very fond of Mr. Gauldin's practical approaches and the abundant documentation he presents."

Comments:
Jonide
I accidentally ordered this edition and decided to keep it for my music library! It is rather dry and and uninspiring like pretty much any other textbook, but my husband is currently using this for grad school research on madrigals of the Renaissance, and he is getting a great deal of info from it. It is a handy and concise addition to the library of any serious music performer, theorist or historian, especially for those specializing in early music.

Miromice
Excellent

Fiarynara
Gauldin really gives some great practical exercises in this book. My polyphony is much improved. If you're looking for a book without Palestrina, this isn't your book.

Simple
If you want to learn 16th Century Counterpoint, THIS is the book to use. I've gone through the Fux exercises several times, and while they're solid and fun, this book is a much more approachable way to the practice. Broken down so you're writing things that sound musical almost from the outset instead of going species by species is exactly the way to keep students engaged, whether they're learning on their own or studying in a classroom setting.

Damdyagab
Very good book, well written.
Nice and clear examples
Worth to have and to use as a reference as well as study material

Anazan
I need it for counterpoint Class, I Was thinking in selling The book,, but i am gonna keep it. D

Fordredor
We studied this book for a class on early counterpoint. Although the book is thorough, the Gauldin constantly uses phrases like "Almost always," "rarely," and "commonly" or "uncommonly" when trying to create a set of rules for early composition, and mostly uses Palestrina as a model for the rules. The shortcoming here is that all "rules" were empirical and were not actually written until Rameau came about, and by then the rules had changed. As a result, there are plenty of pieces which break these unwritten "rules."

So in doing this, he uses the vague terms like "very rarely" to acknowledge that there are exceptions to these rules, but it leaves the reader wondering where these exceptions occurred, and for that matter when in history they occurred (Composers he quotes range from the 1400s-1600s). There are a great deal of complex Medieval and Renaissance works which musicians today would look at and say, "I don't get it," and that's what I find more interesting than just acknowledging exceptions. There are plenty of pieces from the Medieval and Renaissance that have unexplained dissonances that seem to make no sense according to our conventional rules of harmony.

Despite these faults though, the book is very detailed, and does definitely explain the set-in-stone rules to the era, explaining different forms and the way counterpoint is composed. Further: it gives excellent historical background on types of pieces and their function. I would recommend this book, just remember that there are exceptions to all these rules, and if you can get passed a sentence like "Although three-voice texture is by no means the norm of the period, numerous examples may be encountered."(76), you'll be okay.

I am in college and needed the book as soon as possible. The shipment was fast and the book is really helpful. It not only explains the topic but gives examples and assignments to do.

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