Benjamin, Thomas

The Craft of Modal Counterpoint : A Practical Approach

Acknowledgments ix Introduction xi General Stylistic Aspects 1(33) Texture 5(1) Text Setting 6(1) Notation and Performance Practice 7(2) Rhythm and Meter 9(2) Note Values 10(1) Rests 10(1) Dots and Ties 10(1) Harmony 11(10) General Observations 12(2) Accidentals (Musica Ficta) 14(3) Cadences 17(3) Chords 20(1) Melody 21(13) General Observations 21(1) Intervals and Treatment of Leaps 22(3) Other Aspects of Melody 25(3) Typical Quarter-Note Idioms 28(6) Two-Voice Counterpoint 34(28) General Observations 38(2) Rhythm 38(1) Texture 38(1) Phrase and Form 39(1) Motivic (Thematic) Organization 39(1) Technical Details 40(6) Motion Relationships 40(2) Intervallic Relationships 42(3) Cadential Idioms 45(1) Comments on Two-Voice Composition 46(5) Imitation in Two-Voice Texture 51(6) General Observations 54(3) Invertible Counterpoint at the Octave 57(3) Invertible Counterpoint at the Twelfth 60(2) Three-Voice Counterpoint 62(21) General Observations 65(10) Texture and Rhythm 65(2) Harmony 67(4) Dissonance Treatment 71(3) Cadential Idioms 74(1) Imitation 75(1) Comments on Imitation 75(2) Comments on Three-Voice Composition 77(6) Counterpoint in Four Voices 83(2) The Motet 85(11) General Observations 86(6) Imitation 86(6) Comments on Motet Writing 92(4) Suggestions for Further Study 96(1) Appendix: An Anthology of Complete Works 97(90) Bibliography 187(1) Discography 188(1) Index 189