TY - BOOK AU - Gauldin,Robert,1931- TI - A practical approach to sixteenth-century counterpoint / SN - 0881338524 AV - ML446 G269 PY - 1985/// CY - Englewood Cliffs, N.J. : PB - Prentice-Hall, KW - Tesauro Digital Complutense KW - COMPOSICIÓN (MUSICA) KW - MUSICA KW - MUSICA-ANALISIS Y APRECIACION KW - ARMONIA VOCALICA KW - TONALIDAD (MUSICA) N1 - Contiene: Apéndice, Bibliografía, Índice de nombres y trabajos, Tabla de contenido; Incluye referencias bibliográficas; Capítulo 1: Preliminary Remajs -- The format of the music -- Rhythm -- The ecclesiastical modes -- Latin Pronuncuation -- Capítulo 2: Melodic writing with white notes -- Pitch succession in the moledic line -- Rhytmic characteristics of melodic lines -- Capitulo 3: Two-voice texture with white notes -- Consonant harmonic intervals -- Dissonant white notes -- Cadences -- Imitation in two-voice texture -- Capitulo 4: Melodic writing with black notes -- Text setting with Black notes -- Capitulo 5: Two-voice texture with black notes -- Capitulo 6: Other aspects of two-voice texture -- Double Counterpoint -- Canonic writing in two voices -- Aspects os structure in voal two-voices compositions -- Instrumental writing in two-voice texture -- Capítulo 7: Examples of two-voice compositions for analysis -- Capítulo 8: Three-voice texture with white notes -- Harmonic Resources -- Voice-leading Between consonant sonorities -- Dissonance with white notes -- Capitulo 9: Cadences in three-voices texture; other white-note dissonance -- Cadences in three voices -- Other white-note dissonance -- Capítulo 10: Black notes in three-voice texture; imitation and reentries -- Imitation and reentry in three-voice texture -- Capítulo 11: Paraphrase technique; Further studies in canon -- Paraphrase technique -- Three-voice canons (3 in 1) -- Capítulo 12: Examples of three-voice compositions for analysis -- Capítulo 13: General considerations of four-voices texture; Familiar style -- Basic characteristics of four-voice texture -- Familiar style -- Capítulo 14: Imitation and reentry in four-voices texture; Cantus firmus technique -- Capítulo 15: Examples of four-voices compositions for analysis -- Capítulo 16: Aspects of five and six voice texture; Triple meter -- Basic features of five and six voice writing -- Triple meter -- Capítulo 17: The motet; Parody technique -- The motet -- Parody technique -- Capítulo 18: Examples of five and six voices compositions for analysis -- Capítulo 19: Eight voice texture; polychoral style -- Capítulo 20: Examples of eigth voice compositions for analysis -- Capítulo 21: Additional harmonic devices in the late sixteenth century -- Capítulo 22:Extended musica ficta and chromaticism ER -