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Topic: Dissonant counterpoint

	NationMaster - Encyclopedia: Dissonant (Site not responding. Last check: 2007-10-19)
		Both consonance and dissonance are words applied to harmony, chords, and intervals and by extension to melody, tonality, and even rhythm and meter.
		Despite the fact that this idea of the historical progression towards the acceptance of ever greater levels of dissonance is somewhat oversimplified and glosses over a great number important developments in the history of western music, the general idea was attractive to many 20th-century modernist composers and is considered a formative meta-narrative of musical modernism.
		Dissonance in poetry is similar to cacophony and the opposite of euphony.
	www.nationmaster.com /encyclopedia/Dissonant (1627 words)

	Counterpoint - Wikipedia, the free encyclopedia
		Species counterpoint is a type of strict counterpoint, developed as a pedagagical tool, in which a student progresses through several "species" of increasing complexity, gradually attaining the ability to write free counterpoint according to the rules at the given time.
		In fourth species counterpoint, a note is sustained or suspended in an added part while notes move against it in the given part, creating a dissonance, followed by the suspended note then changing (and "catching up") to create a subsequent consonance with the note in the given part as it continues to sound.
		Dissonant counterpoint was first theorized by Charles Seeger as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed.
	en.wikipedia.org /wiki/Counterpoint (1994 words)

	Counterpoint -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-19)
		Counterpoint focuses on melodic interaction rather than harmonic effects generated when melodic strands sound together.
		Dissonant counterpoint was first theorized by (additional info and facts about Charles Seeger) Charles Seeger as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed.
		First species counterpoint is required to be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved" through a skip, not step.
	www.absoluteastronomy.com /encyclopedia/c/co/counterpoint.htm (1017 words)

	physics - Counterpoint
		Counterpoint is a very general feature of music (especially prominent in much Western music) whereby two or more melodic strands occur simultaneously — in separate voices, either literally or metaphorically (if the music is instrumental).
		It was elaborated extensively in the Renaissance period; but composers of the Baroque period brought counterpoint to a kind of culmination; and, broadly and with many exceptions, it may be said that harmony then took over as the predominant organising principle in musical composition.
		Imitative counterpoint has spawned a number of devices that composers have turned to in order to give their works both mathematical rigor and expressive range.
	www.physicsdaily.com /physics/Dissonant_counterpoint (1116 words)

	Counterpoint (Site not responding. Last check: 2007-10-19)
		In fourth species counterpoint, a note is held while changing note move against the holding note, creating a dissonance, followed by the holding note changing to create a subsequent consonance as the changing note holds.
		A common misconception is the belief that counterpoint is equal to these five species, and that anything that does not follow the strict rules of any of the species is not counterpoint.
		Dissonant counterpoint was first theororized by Charles Seeger, who formulated it as counterpoint but with all the rules reversed.
	www.sciencedaily.com /encyclopedia/counterpoint (958 words)

	Third Species, Two Parts (sc3.htm)
		This new type of dissonance is fundamentally different from the dissonant passing tone: while the passing tone forms a stepwise connection between two different tones, the neighboring note involves the stepwise elongation of a single tone.
		The introduction of the dissonance here by leap is mitigated by a return to the principal consonance on the fourth quarter.
		The decoration is significant because it involves the leap of a third from a dissonant note on the second quarter, postponing its resolution until the fourth quarter.
	www.duke.edu /web/mus118/sp3.htm (1075 words)

	Second Species Counterpoint
		It is still necessary to begin on a perfect consonance, but now the line of counterpoint may begin either on the first beat (example 1a), or it may begin with a half-note rest (example 1b).
		The counterpoint will end on the note an octave or unison away from the final note in the cantus firmus, as in first species, and the penultimate note must be the leading tone or seventh modal degree (example 2a).
		Dissonant intervals, such as the 2nd, 4th, 7th, 9th, and tritone, can be used on the second half note of a measure if the line of counterpoint moves up or down by step from one consonance to another (example 3).
	www.listeningarts.com /music/general_theory/species/2nd.htm (995 words)

	Guidelines for Second Species, Two-Part Counterpoint (Site not responding. Last check: 2007-10-19)
		The rhythm of the counterpoint is always 2:1 in relation to the CF.
		One dissonance is used, a passing tone on beat 2.
		Avoid a large jump into an octave in the counterpoint even if the cf is moving into the octave by step and in contrary motion.
	www.unh.edu /music/Counterpoint/2_2_Rules.htm (977 words)

	Counterpoint Article, Counterpoint Information (Site not responding. Last check: 2007-10-19)
		Counterpoint is one of the most essential means, in musical composition, for the generation of musical ironies; amelodic fragment, heard alone, may make a particular impression, but when heard simultaneously with other melodic ideas, orcombined in unexpected ways with itself, as in canon or fugue, surprising new facets of meaning are revealed.
		A common misconception is the belief that counterpoint is equal to these five species, and that anything that does not followthe strict rules of any of the species is not counterpoint.
		Imitiative counterpoint has spawned a number of devices thatcomposers have turned to in order to give their works both mathematical rigor and expressive range.
	www.anoca.org /species/note/counterpoint.html (942 words)

	Species Guidelines
		The counterpoint ends with a whole note; the penultimate measure of the counterpoint will have four quarter notes, the last of which will be scale degree 2 or 7.
		Dissonance, strictly controlled as always, is permitted on the remaining quarter notes of the measure.
		All dissonant notes will be connected stepwise on both sides to other notes of the counterpoint with the exception of the stylized figures covered in #7.
	humanities.uchicago.edu /classes/zbikowski/species.html (1516 words)

	Invertible Counterpoint
		Finally, invertible counterpoint came to be seen as a sign of compositional mastery; with it a composer could demonstrate his accomplishment and worthiness as an artist.
		Fifths in two-voice invertible counterpoint must therefore be written as though they were dissonances, that is, approached and left by step, as in unaccented and accented passing and neighbor notes (including the double neighbor and escape tone), or in a suspension figure.
		When invertible counterpoint at the 8ve is applied to two voices, all 3rds in the original arrangement of the voices become 6ths when the voices exchange places.
	www.music.ucsb.edu /faculty/rothfarb/courses/103/invertible-cpt.html (1102 words)

	Guidelines for Third Species, Two-Part Counterpoint (Site not responding. Last check: 2007-10-19)
		The rhythm of the counterpoint is always 4:1 in relation to the CF.
		The main new dissonance is the neighbor tone, and the basic point of Third Species is to learn how to use neighboring tones.
		CF ends 2-1; counterpoint ends 7-8 and, at least for now, 7 must be the last quarter of the cpt.
	www.unh.edu /music/Counterpoint/3_2_Rules.htm (552 words)

	species counterpoint : melodic inversion : contrary motion
		Species counterpoint is a type of so called strict counterpoint, developed as a pedagogical tool, in which a student progresses through several "species" of increasing complexity, always working a very plain given part in the cantus firmus (Latin for "fixed melody").
		The student gradually attains the ability to write free counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the rules at the given time.The idea is at least as old as 1532, when Giovanni Maria Lanfraco described a similar concept in his Scintille di musica.
		It is a common and pedantic misconception that counterpoint is defined by these five species, and therefore anything that does not follow the strict rules of the five species is not "proper" counterpoint.
	www.aboutmusictheory.com /species-counterpoint.html (1651 words)

	Counterpoint (Site not responding. Last check: 2007-10-19)
		Generally, such music created from the Baroque period on is describedas counterpoint, while music created prior to Baroque times is called polyphony.Hence, the composer Josquin Des Prez wrote polyphonic music.
		Imitiative counterpoint hasspawned a number of devices that composers have turned to in order to give their works both mathematical rigor and expressive range.
		Seeger was not the firstto employ dissonant counterpoint, but was the first to theorize and promote it.
	www.therfcc.org /counterpoint-708.html (838 words)

	Counterpoint (Site not responding. Last check: 2007-10-19)
		Counterpoint is a musical device where melodic phrases play on top of each other, causing notes to work against other notes.
		The appeal of counterpoint may reside not only in the human fascination with complexity and with the role of art in bringing complexity into some kind of order, but with the temporal nature of musical experience.
		In a contrapuntal piece, each voice has its own time structure, and when one hears it, one is actually hearing multiple time structures going on simultaneously, each with their own shape and organization.
	www.portaljuice.com /counterpoint.html (750 words)

	Crawford/Beyer CD
		Both were closely associated with Henry Cowell, who brought Crawford to New York, and to whom Beyer became a kind of de facto personal secretary in the late 1930s.
		Crawford and her husband Charles Seeger devised a theory of "dissonant counterpoint" which elegantly describes much of America's modernist music of the 1930s (Crawford's, Ruggles', a few others).
		One of the first contemporary pianists to perform Beyer's Bees, Gehrauchs-Musik and Dissonant Counterpoint, she also arranged for what may have been the premiere of Movement...
	www.otherminds.org /shtml/Preludescd.shtml (543 words)

	Central Washington University - Music: Music Theory
		However, dissonance in tonal music must be used in such a way as to promote coherence and "naturalness." Species counterpoint provides the opportunity to learn these procedures without the complication of other factors being present.
		To ensure the closest possible connection between the dissonance and the two consonances, the passing tone must be approached and continued by step.
		Although there is a literal leap from a dissonance in the notation, the ear hears both notes clearly as being stepwise neighbors to the main tone.
	www.cwu.edu /~music/theory/counter.html (3160 words)

	SchenkerGUIDE: Neighbour notes
		Neighbour notes do not appear in Schenker's version of species counterpoint but are related to the passing note.
		As explained more fully in the section on fundamental structure, the greatest innovation of the Schenkerian analytical method is that it looks for these linear units deep behind the surface of the piece as well.
		The artist is allowing this to happen but at some point he or she has to stop this process: if the E was made consonant and given a neighbour note and then the same thing happened with that neighbour note and so on, the passage would eventually become incomprehensible as tonal music.
	www.schenkerguide.com /neighbournotes.html (423 words)

	Counterpoint
		Given the way terminology in music history has evolved, such music created from the Baroque period on is described as contrapuntal, while music from before Baroque times is called polyphony.
		In first species counterpoint, each note in an added part* (or parts) simply works against one note in the given part (the cantus firmus).
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	www.mp3.fm /Counterpoint.htm (1111 words)

	Genera of Intervals (Site not responding. Last check: 2007-10-19)
		The rules of counterpoint regulate when one may place a consonance and when one may place a dissonance.
		The reason is thus: F fa ut sung against a b-molle fa [b-flat] is a true diatessaron while a F fa ut sung against a b-duram mi [b-natural] is not a diatessaron but that most harsh and diabolic of intervals, the tritone.
		Thus, major thirds and major tenths are treated the same according to the rules of counterpoints, as are fifths and twelfths, fourths and elevenths, and unisons and octaves.
	www.pbm.com /~lindahl/almond/basse/paper/intervals.html (1797 words)

	CGR: Counterpoint
		Counterpoint is the process of writing two or more lines of music that are designed to be played simultaneously.
		In typical counterpoint, there is one fundamental (meaning the primary and most important) line called the "cantus firmus" that is the basis of all the other lines.
		In first species counterpoint, a cantus firmus is written and then another line(s) is written with exactly the same rhythm as the cantus firmus.
	www.christianguitar.org /forums/showthread.php?t=54572 (2704 words)

	Fifth Species Counterpoint
		Florid counterpoint, the richest species and the one closest to "free" counterpoint, is a combination of the techniques of the first four species.
		The fifth species counterpoint line should begin slowly with a suspension figure, with the same interval constraints as always: the upper counterpoint may enter at a 5th, 8ve, or 12th against the cantus firmus, and the lower counterpoint may enter at a unison or 8ve against the cantus firmus.
		Circle all dissonant harmonic intervals, and label all dissonant figures with the appropriate abbreviation.
	www.listeningarts.com /music/general_theory/species/5th.htm (1031 words)

	Principles of Counterpoint
		If the counterpoint is not to sound haphazard or rough, the harmony needs to be as rich as possible.
		In the proposed variant, the dissonant F# and its resolution are doubled at the 6th in the middle part, creating a much richer effect, more in tune with the style of the opening bars.
		Schoenberg’s counterpoint book is the only text, to my knowledge, which includes exercises specifically requiring the student to modulate within contrapuntal textures.
	www.musique.umontreal.ca /personnel/Belkin/bk.C/2.html (1480 words)

	Counterpoint
		A common misconception is the belief that counterpoint is equal to these five species, and that anything that doesn't follow the strict rules of any of the species isn't counterpoint.
		Although much music of the common practice period generally adheres to the fifth species, this isn't true.
		Other composers who have used dissonant counterpoint, if not in the exact manner prescribed by Charles Seeger, include Ruth Crawford-Seeger, Carl Ruggles, and Arnold Schoenberg.
	news-server.org /c/co/counterpoint.html (760 words)

	MTO 3.1: The Bridges that Never Were
		It is therefore conceptually possible to disregard the dissonance altogether, as though the consonance occupied the entire measure in the manner of a first-species exercise.
		Kirnberger's distinction is epoch-making precisely because it implies that the seventh chord of free composition is a qualitatively-different entity from the suspended-seventh formations of fourth-species counterpoint.
		Rothgeb, "Strict Counterpoint and Tonal Theory," 282: "In the 6/5 chord of strict counterpoint, unlike that of free composition, both intervals, the fifth and the sixth, must be regarded as absolute rather than as a verticalization of a passing motion.
	www.societymusictheory.org /mto/issues/mto.97.3.1/mto.97.3.1.agmon.html (6059 words)

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