Counterpoint (4th Edition) [Hardcover]

Kent Kennan (Author)

Book Description

Publication Date: August 8, 1998 | ISBN-10: 013080746X | ISBN-13: 978-0130807465 | Edition: 4

Designed for courses in Music, this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work.

Editorial Reviews

From the Publisher

This volume teaches counterpoint through analysis of contrapuntal elements in music and writing of the Baroque period. --This text refers to an out of print or unavailable edition of this title.

From the Back Cover

Designed for courses in Music, this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work.

Product Details

• Hardcover: 292 pages
• Publisher: Prentice Hall; 4 edition (August 8, 1998)
• Language: English
• ISBN-10: 013080746X
• ISBN-13: 978-0130807465
• Product Dimensions: 9 x 6.1 x 0.8 inches
• Shipping Weight: 1.2 pounds (View shipping rates and policies)
• Average Customer Review: 4.9 out of 5 stars  See all reviews (7 customer reviews)
• Amazon Best Sellers Rank: #144,453 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

23 of 23 people found the following review helpful:

5.0 out of 5 stars Classic work on counterpoint, October 27, 2005

By 

Jeremiah Lawson (Seattle, WA United States) - See all my reviews
(REAL NAME)   

This review is from: Counterpoint (4th Edition) (Hardcover)

George Oldroyd's book The Technique and Spirit of Fugue is the best book on fugue composition but it's out of print and VERY expensive. So, by default, Kent Kennan's book is the best reference book a composer can buy for a basic overview of counterpoint. If you already have a year or two of music theory (you know about modulations, sonata forms, and basic part-writing) you can,literally, just start working from this book with Bach as a companion text and start teaching yourself how to write fugues.

Kennan's book is helpful because while mostly covering Baroque counterpoint he covers the topic in a way that lets a student expand on the contrapuntal principles into other styles. If you're going to get just one book on counterpoint make this the book.

28 of 30 people found the following review helpful:

5.0 out of 5 stars Still the best basic counterpoint text, March 8, 2005

By 

James E. McVoy (Coatesville, PA USA) - See all my reviews
(REAL NAME)   

This review is from: Counterpoint (4th Edition) (Hardcover)

Having taught counterpoint for about twenty years, I can honestly say this is still the best textbook available on the subject. Along the way I tried a number of "newer" texts, but my classes always met with more success using Kennan. The workbook that accompanies this book is a must for anyone who wants to master the art of eighteenth-century counterpoint. To be honest, you also need a teacher to evaluate your progress.

13 of 16 people found the following review helpful:

5.0 out of 5 stars Errata: musical example, June 27, 2007

By 

S. Reichling - See all my reviews
(REAL NAME)   

This review is from: Counterpoint (4th Edition) (Hardcover)

The first musical example for Chapter 3 should be an excerpt from Bach's Two-Part Invention, No.11. It is not, as the reader will quickly discover when the text talks about a "lower voice" that simply doesn't exist! This is not a huge problem, since the correct measures are shown soon after (in Example 5). But it could be confusing at first.