Tonal Counterpoint For The 21st-century Musician: An Introduction by Teresa DavidianTonal Counterpoint For The 21st-century Musician: An Introduction by Teresa Davidian

Tonal Counterpoint For The 21st-century Musician: An Introduction

byTeresa Davidian

Paperback | February 10, 2015

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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 direct reflection of the age in which they live. This book is easy to understand, comprehensive, and distinctly modern in its approach to the study of counterpoint. Written in a style that is clear, simple, and informal writing style, Davidian artfully mixes the history of counterpoint with an outline of its structure, placing musical examples from J. S. Bach side by side with those from The Beatles to illustrate the universality and currency of counterpoint in music analysis and composition.
Teresa Davidian is head of the department of fine arts at Tarleton State University, a member of the Texas A&M University System. She is the author of articles on Debussy, the 1930s avant-garde movement, and music theory pedagogy.
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Title:Tonal Counterpoint For The 21st-century Musician: An IntroductionFormat:PaperbackDimensions:260 pages, 10.09 × 7.1 × 0.63 inPublished:February 10, 2015Publisher:Rowman & Littlefield PublishersLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1442234598

ISBN - 13:9781442234598

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Table of Contents

PrefaceIntroduction1: MelodyGeneral CharacteristicsMelodic OrganizationPutting It All TogetherBeyond the RulesExercises2: First Species - 1:1General CharacteristicsPutting It All TogetherConclusionExercises3: Second Species - 2:1General CharacteristicsHow to Construct 2:1ConclusionExercises4: Third Species - 3:1 and 4:1Three Notes Against One (3:1)Four Notes Against One (4:1)Rhythmic Interplay between the LinesBeyond Third SpeciesExercises5: Analyzing and Composing a Simple Piece in Two PartsGeneral Characteristics of Musical FormAnalyzing FormBinary FormComposing a Binary-Form PieceBeyond Form and AnalysisExercises6: Double CounterpointGeneral Remarks and PrinciplesHow to Construct Double CounterpointExercises7: Two-part CanonGeneral Remarks and PrinciplesCommon CanonsHow to Write a Two-Part CanonCanon TransformationsStill More CanonsConclusionExercises8: J. S. Bach's Two-part InventionAnalyzing InventionsSection 1Section 2Concluding MeasuresOverall ConstructionComposing InventionsExercises9: Counterpoint in Three and Four PartsBack to the SpeciesGeneral CharacteristicsThe Difference between Harmony and CounterpointHow to Construct Species Counterpoint in Three PartsHow to Construct Species Counterpoint in Four PartsBeyond Four-Part CounterpointExercises10: FugueBach and the FugueSection 1: ExpositionSection 2: DevelopmentFinal Portion220Overall ConstructionComposing FuguesExercisesBibliographyIndex

Editorial Reviews

Students today, having grown up in the age of digital technology, like their information fast and consider visual images as important as textual content. In this single-semester introduction, Davidian provides students with a textbook that is a direct reflection of the age in which they live. Throughout, the author explains how the techniques of 18th-century counterpoint still readily apply to how music is composed today.