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This classic introductory text focuses on the polyphonic vocal style perfected by Palestrina. Unlike many other texts, it maintains a careful balance between theoretical and practical problems, between historical and systematic methodology. The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint.
In Part One, Knud Jeppesen (1892–1974), the world-renowned musicologist and leading authority on Palestrina, offers a superb outline history of contrapuntal theory. He begins by exploring the beginnings of contrapuntal theory from the ninth to the fourteenth centuries. This is followed by separate discussions of each succeeding century, the styles of Palestrina and Bach, the "Palestrina Movement" after Fux, and more. The section ends with illuminating coverage of notation, the ecclesiastical modes, melody, and harmony.
The second part of the book contains an extended treatment of "species" counterpoint in two, three, and four parts, as well as counterpoint in more than four parts, and specific discussions of the canon, the motet, and the Mass. Throughout, the text is generously supplied with musical examples―exercises, solutions, and illustrations, including many by the great composers. For this edition, the distinguished scholar Alfred Mann has contributed a new foreword to Jeppesen's classic study. Now available in paperback for the first time, it will be welcomed by musicians, composers, theorists, musicologists―any student of counterpoint and the Western musical tradition.
- Sales Rank: #337702 in Books
- Brand: Dover Publications
- Model: 06-27036X
- Published on: 1992-03-27
- Released on: 1992-03-27
- Original language: English
- Number of items: 1
- Dimensions: 9.20" h x .61" w x 6.14" l,
- Binding: Paperback
- 320 pages
- The Polyphonic Vocal Style of the Sixteenth Century.
- By Knud Jeppesen foreword by Alfred Mann.
- Series: Dover Edition.
- Category: Textbook - General.
- Format: Book.
Language Notes
Text: English
Original Language: Danish
From the Back Cover
This classic introductory text focuses on the polyphonic vocal style perfected by Palestrina. Unlike many other texts, it maintains a careful balance between theoretical and practical problems, between historical and systematic methodology. The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint.
In Part One, Knud Jeppesen (1892–1974), the world-renowned musicologist and leading authority on Palestrina, offers a superb outline history of contrapuntal theory. He begins by exploring the beginnings of contrapuntal theory from the ninth to the fourteenth centuries. This is followed by separate discussions of each succeeding century, the styles of Palestrina and Bach, the "Palestrina Movement" after Fux, and more. The section ends with illuminating coverage of notation, the ecclesiastical modes, melody, and harmony.
The second part of the book contains an extended treatment of "species" counterpoint in two, three, and four parts, as well as counterpoint in more than four parts, and specific discussions of the canon, the motet, and the Mass. Throughout, the text is generously supplied with musical examples―exercises, solutions, and illustrations, including many by the great composers. For this edition, the distinguished scholar Alfred Mann has contributed a new foreword to Jeppesen's classic study. Now available in paperback for the first time, it will be welcomed by musicians, composers, theorists, musicologists―any student of counterpoint and the Western musical tradition.
Unabridged Dover (1992) republication of the edition published by Prentice-Hall, Inc., New York, 1939.
Most helpful customer reviews
7 of 8 people found the following review helpful.
Jeppesen's explanation of Counterpoint
By James Gabbard
It is both wonderful and disturbing to see how a few basic priciples form the basis of music written during a span of over four centuries. The book came highly recommended to me and I pass that recommendation on to others. One caveat: ya gotta really love composing and music theory to make this book worthwhile.
12 of 12 people found the following review helpful.
A useful classic for developing composition skills.
By Hexagram of the Heavens
I leave the original review intact below. I still love Jeppesen, and his method creates beautiful exercises. His guidelines for melody writing are unique and priceless. I leave the five stars, but I have some new criticisms.
To wit: I now believe that when Fux evoked the spirit of Palestrina, p. 18 of Alfred Mann's translation, he was just blowing some rhetorical smoke. He was not trying to emulate Palestrina at all, he was teaching Zarlino's system of modes based on the hexachord. When Jeppesen revised the method and chopped out the Lydian mode, saying that Palestrina really only used the Ionian, this was a big misunderstanding of Fux's teaching. Jeppesen's system uses only Ionian, Dorian, Phrygian, Mixolydian and Aeolian. Fux's also has the Lydian with Bb. Yes it's superficially the same as the Ionian, if all you are doing is species counterpoint exercises. But in real composition, we have to modulate, and modulation to any of the six possible cadence points of the hexachord was what Fux was teaching, and Jeppesen has overlooked this because he is directly focused on Palestrina.
There is one other shortcoming in Jeppesen's method, which I merely report from experience. In disregarding the distinction between the plagal and authentic modes, Jeppesen overlooks the importance these complementary structures have both in fugal answers and in the disposition of the four voices in the Gamut.
Now the original review:
This has been one of my favorite books for 30 years. It may be that Peter Schubert's book is more practical for the beginning counterpoint student. But I love Jeppesen.
The standard text of the 18th century, used and endorsed by Bach, Mozart, Haydn and Beethoven, was J. J. Fux's 1725 book "Gradus ad Parnassum", available in English as "The Study of Counterpoint." Fux's book is in the archaic "dialogue of teacher and pupil" style, and it's a tough read. Not that Jeppesen's easy... but Jeppesen was, 80 years ago, the authoritative update to Fux, with a better historical perspective (although there are some modern scholars with different ideas) and remains a very practical book. (Acknowledged: you must read C-clef, or be willing to learn. It's not rocket science.)
Why study 16th c. counterpoint? It's a very clear, classic style. Bach's counterpoint style is a difficult starting place for someone who wants to learn this art, but AFTER reading Jeppesen, it becomes apparent what some of Bach's operating principles were that evolved from the earlier style. In fact, the whole development of western harmony up through jazz is easier to understand once you have read and understood Jeppesen - and let me also mention that the historical overview with which he opens the book is worth the price of the book by itself.
6 of 6 people found the following review helpful.
Wonderful text - for serious music students a must have
By Chris Sahar
I disagree this book's use is limited to 16th century counterpoint. The only case I would agree is a student new to counterpoint who jumps right to the exercises in species counterpoint.
In reality, 16th century counterpoint is the gateway to understanding 18th century and even more modern usage of it as you learn an excellent standard to compare later developments. Also, the exercises in writing imitation, invertible counterpoint are great. And yes the essay on its development thru the 19th century is fantastic.
Now I will not say this is the most comprehensive - for that there is a French tome published in the early 20th centurey which is encyclopedic. The name slips my memory.
But for compactness and depth of its topic and providing its context as well as the great exercises, Jeppesen's will be a book you will always return to. That is rare for textbooks.
I'd say this book is especially good for music composers and song writers (yes pop ones too). The author spends much time discussing melodic writing in addition to contrapuntal writing.
Finally the presentation is far more in line with modern readers' experience, the old presentation of question and answer and deduction may have its merits but I agree it is a tough way to present a new topic to someone. Start with this, then go to Fux and studies of scores (yes Counterpoint and Compositions is a good text when shown by a teacher how to employ the methods, otherwise it can be limiting in its impact upon learning).
In sum, for the serious music student this should be one of the 10 - 20 essential texts in your library. For music lovers steeped deeply in Medieval and Renassaince music and some understanding of music theory, this would enhanace your appreciation of the craft and the music - and hey you may find yourself writing some great liturgical music for your choir in the end!
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