Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century

By Knud Jeppesen and Knud Jeppeson

Book Overview

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.

• Format: Paperback
• Language: English
• ISBN: 048627036X
• ISBN13: 9780486270364
• Release Date: March 1992
• Publisher: Dover Publications
• Length: 320 Pages
• Weight: 0.94 lbs.
• Dimensions: 0.6" x 6.1" x 9.2"

Customer Reviews

A useful classic for developing composition skills.

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.

The BEST counterpoint book out there!

First of all, skip any of those counterpoint books that push that Schenkeian drivel on you. Jeppesen's book is pure and straighforward- no baloney! There are so many superior features to this book that it's difficult to choose what to mention, so I'll just begin with the fact that you do NOT get flooded with more examples than you can possibly make use of. Jeppesen gives you exactly what you need, and streamlines his information to that which will teach you the 16th century style. He begins with a solid background in the history of music theory since the Middle Ages, which helps to understand not only the technical tools the 16th century style, but also the aesthetic objectives. How he breaks down the building of the melodic lines and the combining of the parts is surprisingly complete, considering the small size of this book. The language is quite dense, though, so it will take a few reads to reap the most benefits from this book. But it's more than worth the extra time! I highly recommend this book for anyone who wants to learn 16th century counterpoint, and not spend time going around in circles with a lot of self-serving verbiage.

Highly recommend

This is an excellent book for those who wish to learn counterpoint. It provides a history of counterpoint and uses the species approach of counterpoint which is in my opinion the best way to get a comprehensive step by step, thorough grasp on the concepts of counterpoint. It is focused on counterpoint of the 16th century as the title indicates and is very similiar to Fuxs but is more in depth. Jeppesen explains about melody (particularly the practices of Palestrina) and writing without the cantus firmus using tequniques such as imitation dimmunition and augmentation of a melody. Definately a "must have" for those interested in counterpoint.

This is an incredible book on counterpoint.

I am a music student at the University of Saskatchewan, Canada. I am currently reading, Counterpoint by Knudd Jeppesen. I feel that Counterpoint is a must read for any serious music student. I am currently at page 20 with 15 pages of hand made notes. The historical facets of this book alone are amazing. Also the ease at which one is able to read Counterpoint is very pleasing. I strongly urge any theory/composition major to read Jeppesen 's book "Counterpoint."