Counterpoint - Revision history

RobSmith at 07:29, February 2, 2019

2019-02-02T07:29:51Z

DavidB4-bot: /* Resources */Category

2016-07-28T15:28:07Z

Resources: Category

DavidB4-bot: /* top */Spelling/Grammar Check, typos fixed: synonomously → synonymously, newly- → newly

2016-07-15T14:23:46Z

top: Spelling/Grammar Check, typos fixed: synonomously → synonymously, newly- → newly

DavidB4-bot: /* Resources */clean up & uniformity

2016-07-12T01:09:21Z

Resources: clean up & uniformity

AlanE: Undo revision 1039241 by Markman (talk) This is a cited article

2013-03-08T17:40:42Z

Undo revision 1039241 by Markman (talk) This is a cited article

Markman at 20:20, March 6, 2013

2013-03-06T20:20:25Z

LyleT: sp

2010-09-05T17:00:50Z

JDWpianist: wikilink

2009-05-03T20:54:37Z

wikilink

JDWpianist: improved neoclassicism sentence

2009-05-02T20:23:08Z

improved neoclassicism sentence

JDWpianist: many wikilinks

2009-05-02T20:21:28Z

many wikilinks

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 The musical effect of the [[Counter-Reformation]] beginning in 1560 was to curtail the growing complexity of liturgical music, preferring [[homophony]] to polyphony. At the same time, the [[Lutheran]] church's newly composed homophonic [[chorale]]s showed an emergent sensitivity to harmonic thinking. Whereas polyphony had been primarily linear, or horizontal, in nature, this new style focused on the vertical aspect. Out of this sensibility developed the type of counterpoint which would become the hallmark of the high [[Baroque]]. New rules developed which took into account both the horizontal and vertical aspects of the musical texture, and by the time of [[Bach]] and [[Handel]] this new kind of counterpoint had been “codified” into various forms; the most notable being the [[fugue]]. This high Baroque period (generally considered to be the first half of the 18th century) became the second high point of contrapuntal writing.
-Composers in the subsequent [[Classical period (music)|Classical period]], notably [[Joseph Haydn]] and W.A. [[Mozart]] studied it, and used it extensively in the development of sonata-form movements within their works. The [[Romantic period (music)|Romantic]] period saw the importance of the discipline decline, but not disappear. [[Felix Mendelssohn|Mendelssohn]] and [[Brahms]] both found musical inspiration in its forms and disciplines. (Brahms would “doodle” with counterpoint as a cure for “writer’s block”.)  The rise of [[Neoclassicism (music)|Neoclassicism]] in many of the works of [[Igor Stravinsky]], [[Paul Hindemith]] and other [[Twentieth Century period (music)|20th century]] composers gave it new impetus. It is still a part of the study of composition.
+Composers in the subsequent [[Classical period (music)|Classical period]], notably [[Joseph Haydn]] and W.A. [[Mozart]] studied it, and used it extensively in the development of [[sonata-form]] movements within their works. The [[Romantic period (music)|Romantic]] period saw the importance of the discipline decline, but not disappear. [[Felix Mendelssohn|Mendelssohn]] and [[Brahms]] both found musical inspiration in its forms and disciplines. (Brahms would “doodle” with counterpoint as a cure for “writer’s block”.)  The rise of [[Neoclassicism (music)|Neoclassicism]] in many of the works of [[Igor Stravinsky]], [[Paul Hindemith]] and other [[Twentieth Century period (music)|20th century]] composers gave it new impetus. It is still a part of the study of composition.
 ==Resources==

← Older revision		Revision as of 15:28, July 28, 2016
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	Robert Gauldin, ''A Practical Approach to Eighteenth-Century Counterpoint,'' 1988		Robert Gauldin, ''A Practical Approach to Eighteenth-Century Counterpoint,'' 1988

−	[[Category:Musical ~~terms~~]]	+	[[Category:Musical Terms]]

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-'''Counterpoint''', from the [[Latin]]: “against [[note (music)|note]]” is the combination of two or more separate musical lines to form an [[musical harmony|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medieval multi-voice music from that of the Renaissance and Baroque.
+'''Counterpoint''', from the [[Latin]]: “against [[note (music)|note]]” is the combination of two or more separate musical lines to form an [[musical harmony|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonymously with counterpoint, and sometimes to distinguish medieval multi-voice music from that of the Renaissance and Baroque.
 Before the 10th or 11th century, all Western music was [[monophony|monophonic]], or consisting of only one voice, which was usually a liturgical [[Gregorian chant|chant]]. The earliest known example of polyphony, discovered in a document called the "Winchester Troper," adds voices to the chant moving at parallel intervals, such as the fifth and octave, a practice called [[organum]]. Later documents would yield examples of parallel organum at the third and sixth. The practice of singing independent lines (and often to completely different texts) began in the 14th century in France, and reached its first heights in the music of [[Palestrina]], [[William Byrd|Byrd]], [[Lassus]] and others during the 15th and 16th centuries.
-The musical effect of the [[Counter-Reformation]] beginning in 1560 was to curtail the growing complexity of liturgical music, preferring [[homophony]] to polyphony. At the same time, the [[Lutheran]] church's newly-composed homophonic [[chorale]]s showed an emergent sensitivity to harmonic thinking. Whereas polyphony had been primarily linear, or horizontal, in nature, this new style focused on the vertical aspect. Out of this sensibility developed the type of counterpoint which would become the hallmark of the high [[Baroque]]. New rules developed which took into account both the horizontal and vertical aspects of the musical texture, and by the time of [[Bach]] and [[Handel]] this new kind of counterpoint had been “codified” into various forms; the most notable being the [[fugue]]. This high Baroque period (generally considered to be the first half of the 18th century) became the second high point of contrapuntal writing.
+The musical effect of the [[Counter-Reformation]] beginning in 1560 was to curtail the growing complexity of liturgical music, preferring [[homophony]] to polyphony. At the same time, the [[Lutheran]] church's newly composed homophonic [[chorale]]s showed an emergent sensitivity to harmonic thinking. Whereas polyphony had been primarily linear, or horizontal, in nature, this new style focused on the vertical aspect. Out of this sensibility developed the type of counterpoint which would become the hallmark of the high [[Baroque]]. New rules developed which took into account both the horizontal and vertical aspects of the musical texture, and by the time of [[Bach]] and [[Handel]] this new kind of counterpoint had been “codified” into various forms; the most notable being the [[fugue]]. This high Baroque period (generally considered to be the first half of the 18th century) became the second high point of contrapuntal writing.
 Composers in the subsequent [[Classical period (music)|Classical period]], notably [[Joseph Haydn]] and W.A. [[Mozart]] studied it, and used it extensively in the development of sonata-form movements within their works. The [[Romantic period (music)|Romantic]] period saw the importance of the discipline decline, but not disappear. [[Felix Mendelssohn|Mendelssohn]] and [[Brahms]] both found musical inspiration in its forms and disciplines. (Brahms would “doodle” with counterpoint as a cure for “writer’s block”.)  The rise of [[Neoclassicism (music)|Neoclassicism]] in many of the works of [[Igor Stravinsky]], [[Paul Hindemith]] and other [[Twentieth Century period (music)|20th century]] composers gave it new impetus. It is still a part of the study of composition.

← Older revision		Revision as of 01:09, July 12, 2016
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	Robert Gauldin, ''A Practical Approach to Eighteenth-Century Counterpoint,'' 1988		Robert Gauldin, ''A Practical Approach to Eighteenth-Century Counterpoint,'' 1988

−	[[Category: Musical terms]]	+	[[Category:Musical terms]]

← Older revision		Revision as of 17:40, March 8, 2013
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−	~~{{uncited}}~~
−
	'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medieval multi-voice music from that of the Renaissance and Baroque.		'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medieval multi-voice music from that of the Renaissance and Baroque.

← Older revision		Revision as of 20:20, March 6, 2013
Line 1:		Line 1:
		+	{{uncited}}
		+
	'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medieval multi-voice music from that of the Renaissance and Baroque.		'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medieval multi-voice music from that of the Renaissance and Baroque.

← Older revision		Revision as of 17:00, September 5, 2010
Line 1:		Line 1:
−	'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish ~~medeival~~ multi-voice music from that of the Renaissance and Baroque.	+	'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medieval multi-voice music from that of the Renaissance and Baroque.

	Before the 10th or 11th century, all Western music was [[monophony\|monophonic]], or consisting of only one voice, which was usually a liturgical [[Gregorian chant\|chant]]. The earliest known example of polyphony, discovered in a document called the "Winchester Troper," adds voices to the chant moving at parallel intervals, such as the fifth and octave, a practice called [[organum]]. Later documents would yield examples of parallel organum at the third and sixth. The practice of singing independent lines (and often to completely different texts) began in the 14th century in France, and reached its first heights in the music of [[Palestrina]], [[William Byrd\|Byrd]], [[Lassus]] and others during the 15th and 16th centuries.		Before the 10th or 11th century, all Western music was [[monophony\|monophonic]], or consisting of only one voice, which was usually a liturgical [[Gregorian chant\|chant]]. The earliest known example of polyphony, discovered in a document called the "Winchester Troper," adds voices to the chant moving at parallel intervals, such as the fifth and octave, a practice called [[organum]]. Later documents would yield examples of parallel organum at the third and sixth. The practice of singing independent lines (and often to completely different texts) began in the 14th century in France, and reached its first heights in the music of [[Palestrina]], [[William Byrd\|Byrd]], [[Lassus]] and others during the 15th and 16th centuries.

← Older revision		Revision as of 20:54, May 3, 2009
Line 1:		Line 1:
−	'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine ~~voices~~ in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medeival multi-voice music from that of the Renaissance and Baroque.	+	'''Counterpoint''', from the [[Latin]]: “against [[note (music)\|note]]” is the combination of two or more separate musical lines to form an [[musical harmony\|harmonic]] whole. It also refers to the academic discipline used throughout history to teach [[composer]]s how best to combine [[voice]]s in a musical texture. The term [[polyphony]] is sometimes used synonomously with counterpoint, and sometimes to distinguish medeival multi-voice music from that of the Renaissance and Baroque.

	Before the 10th or 11th century, all Western music was [[monophony\|monophonic]], or consisting of only one voice, which was usually a liturgical [[Gregorian chant\|chant]]. The earliest known example of polyphony, discovered in a document called the "Winchester Troper," adds voices to the chant moving at parallel intervals, such as the fifth and octave, a practice called [[organum]]. Later documents would yield examples of parallel organum at the third and sixth. The practice of singing independent lines (and often to completely different texts) began in the 14th century in France, and reached its first heights in the music of [[Palestrina]], [[William Byrd\|Byrd]], [[Lassus]] and others during the 15th and 16th centuries.		Before the 10th or 11th century, all Western music was [[monophony\|monophonic]], or consisting of only one voice, which was usually a liturgical [[Gregorian chant\|chant]]. The earliest known example of polyphony, discovered in a document called the "Winchester Troper," adds voices to the chant moving at parallel intervals, such as the fifth and octave, a practice called [[organum]]. Later documents would yield examples of parallel organum at the third and sixth. The practice of singing independent lines (and often to completely different texts) began in the 14th century in France, and reached its first heights in the music of [[Palestrina]], [[William Byrd\|Byrd]], [[Lassus]] and others during the 15th and 16th centuries.