This textbook of counterpoint not only provides basic and comprehensive instruction in compositional theory, but also opens the door to the diverse music of the late Renaissance. Beginning with rhythmic, melodic and modal basics, the path leads through the technique of composition to the consideration of complete two to five part cantus firmus and imitation settings. In addition to the Palestrina style, special interest is given to the work of Orlando di Lasso, especially his numerous bicinia. In addition, some German-speaking composers are discussed, among them Caspar Othmayr and Johannes Walter. The detailed and clear structure allows this textbook to be used as a handbook. It is intended first of all for teachers and students of musical subjects, but also for practitioners, connoisseurs and lovers of early music.
The Origin and Possible Usage of Transgressio in Music Theory Classes
Source(s) of analysis: Score Musical work: 3 Rosenkavalier, Concerti musicali Op. 6 No 7 (3rd movement), Piano Concerto KV 414, Solche hergelaufnen Laffen / Die Entführung aus dem Serail, Stabat mater, Symphony 86, Trio Sonata Op. 4 No. 1 (3rd movement), Trio Sonata VII/2 Op.3, Von den Stricken meiner Sünden / St. John Passion Year of creation: 1689, 1694, 1698, 1724, 1736, 1782, 1786, 1911 Composer's name: Bach, Corelli, Haydn, Mozart, Pergolesi, Strauss, Torelli Methods of analysis: Conventional / Traditional analysis, Rhetoric analysis, Structural analysis, Style analysis
Target Group / Study LevelLevel of music analysis knowledge: Beginner, Intermediate
Study cycle: Bachelor
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