Bøger af Knud Jeppesen

Introduktion til de gammeltestamentlige læsninger efter første tekstrække med sproglige noter af Martin Ehrensvärd

2020 Reprint of the 1939 Edition. Full facsimile of the original edition and not reproduced with Optical Recognition software. In music theory counterpoint is the relationship between voices which are harmonically interdependent (polyphony) yet independent in rhythm and contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque. The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note". This classic introductory text focuses on the polyphonic vocal style perfected by Giovanni Pierluigi da Palestrina (1525 - 1594), the Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. 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.

This classic study remains one of the foremost works on the music of the sixteenth-century composer known as Palestrina. A rigorous and valuable analysis of the composer''s handling of rhythm, line, and harmony, it explores his music in terms of the elements that constitute his personal style, isolating unusual vertical lines and establishing common and uncommon interval skips and rhythmic accents. A meticulous exploration of the treatment of dissonance in the composer' 2s works is supplemented by a complete history of the evolving concept and treatment of dissonance before Palestrina that discusses the practices of composers such as Josquin Desprez, Gabrieli, Ockeghem, and Dunstable.