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[null,"1.","Record Nr.",null,"UNINA9910967598003321"]
[null,null,"Autore",null,"Benjamin Thomas"]
[null,null,"Titolo",null,"The craft of tonal counterpoint / / Thomas Benjamin"]
[null,null,"Pubbl/distr/stampa",null,"New York : , : Routledge, , 2003"]
[null,null,"ISBN",null,"1-135-94662-0"]
[{"$nulls":4},"1-138-45331-5"]
[{"$nulls":4},"1-135-94663-9"]
[{"$nulls":4},"1-280-10778-2"]
[{"$nulls":4},"9786610107780"]
[{"$nulls":4},"0-203-49411-3"]
[null,null,"Edizione",null,"[2nd ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (650 p.)"]
[null,null,"Disciplina",null,"781.2/86"]
[null,null,"Soggetti",null,"Counterpoint"]
[{"$nulls":4},"Musical analysis"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","\"Anthology (all works are by J.S. Bach)\": p. 296-297."]
[{"$nulls":4},"Rev. ed. of: Counterpoint in the style of J.S. Bach. 1986."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Cover; Title; Copyright; Contents; Dedication; Acknowledgments; Preface to the Second Edition; Notes to the Instructor; Notes to the Student; Introduction; Chapter 1 Line and Other Elements of Style; Shape;  Tonal Framework;  Range and Tessitura; Structural Pitches; Filling In (Motivic) Figures; Phrase and Cadence; Cadence Figures; Meter and Rhythm; Melodic Intervals;  Details of Line; Scales;  Chromaticism;  Tendency Tones; Nonharmonic (Nonchord) Tones; Means of Coherence; Compound Line; Suggestions for Melodic Writing; Melodic Writing Checklist; Chapter 2 Nonimitative Two-Voice Writing"]
[{"$nulls":4},"General ObservationsSpecific Details of Voice Relationships; A Note on Compound Meter; Contrapuntal Analysis Checklist; Essentials of Two-Voice Counterpoint; Chapter 3 Chromaticism in Two Voices; Nonfunctional (Nonessential, Decorative, Melodic) Chromaticism; Functional (Essential, Harmonic) Chromaticism; Harmonies Related to Chromatic Lines; The Neapolitan Triad; Augmented-Sixth Chords; Chapter 4 Composition of Binary Dance Forms; Chapter 5 Double (Invertible) Counterpoint; Double Counterpoint at the Octave or Fifteenth; Double Counterpoint at the Twelfth; Double Counterpoint at the Tenth"]
[{"$nulls":4},"Chapter 6 Imitation Canon; Imitation; Canon; Variants in the Imitative Process; Chapter 7 The Two-Voice Invention; The Exposition: Theme and Countertheme; The Episode; The Invention as a Whole; Analysis of a Complete Invention; Chapter 8 Three-Voice Counterpoint I: Texture, Rhythm, Harmony; Texture and Rhythm; Range and Spacing; Relative Motion; Harmony; Cadential Figures; Nonharmonic Tones; Chapter 9 Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon; Chromaticism; Cross-Relation; Triple (Triple Invertible) Counterpoint; Accompanied Two-Voice Canon; Canon in Three Voices"]
[{"$nulls":4},"Chapter 10 Fugue IThe Subject; The Answer; The Exposition; Chapter 11 Fugue II; Overall Structure; The Episode; Middle Entries; The Counterexposition; Augmentation and Diminution; Inversion; Stretto; Pedal Point; The Ending Section; Analysis of a Complete Fugue; Chapter 12 Four-Voice Counterpoint; Texture and Rhythm; Harmony; Four-Voice Fugue; Other Fugal Variants; Chapter 13 Variation Forms; The Passacaglia; The Chaconne; The Goldberg Variations (Clavierübung, Part IV); Chapter 14 Cantus Firmus Procedure: The Chorale Prelude; The Ornamented Chorale Harmonization"]
[{"$nulls":4},"Cantus with Motivic CounterpointsCanonic Treatment of Cantus and/or Accompanying Parts; Chorale Prelude Involving \"Vorimitation\" (Preimitation); Chorale Prelude with \"Obbligato\" Melody; Conclusion; Appendix 1: Harmony; Appendix 2: Composing for the Organ; Glossary; Bibliography; Anthology; Index"]
[null,null,null,"Sommario/riassunto","The Craft of Tonal Counterpoint is an introductory text to the analysis and composition of tonal counterpoint. Using examples from the music of J.S. Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing.  Benjamin covers chromaticism and fugal writing in exceptional detail.  The exercises cover a wide range of formats, including error detection, linear pitch reduction, analysis and composition.  The book also incorporates a 100-page anthology of scores, effective for analysis, in-cla"]