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• Preface
• Part One Introductory Concepts
• 1 The Nature of Polyphonic Music: Terms and General Concepts
• 2 Polyphony and Style: A Comparison of Examples From the Fourteenth to the Twentieth Centuries
• Part Two Counterpoint in the Late Renaissance (1500-1600)
• 3 Two-Part Counterpoint Basic Principles of Sixteenth-Century Style
• 4 Two-Part Counterpoint: First and Second Species Counterpoint
• 5 Two-Part Counterpoint: Third, Fourth, and Fifth Species
• 6 Two-Part Motets: Setting of Text Formal Considerations
• 7 Two-Part Secular Music: Instrumental Duo Canzonet
• 8 Three-Part Counterpoint: Motet
• Canzonet
• Fantasia
• 9 Four Part Counterpoint: Dance Variations Motet
• Madrigal
• 10 Polyphony in More Than Four Parts
• Part Three Counterpoint in The Early Baroque (1600-1700)
• 11 Stylistic Innovations: The Basso Continuo; the Emergence of Tonality
• New Uses of Dissonance
• Chromaticism
• 12 Continuous Variations: Ground Bass
• Chaconne; and Passacaglia
• 13 Trio Texture: Two Trebles With Continuo
• 14 Predecessors of the Fugue: Canzona
• Ricercar
• Fantasia; and Choral Fugato
• Part Four Counterpoint in the Late Baroque (1700-1750)
• 15 Review of Basic Concepts and Introduction to Eighteenth-Century Counterpoint
• 16 Polyphonic Style in 1700: Melodic, Harmonic, and Temporal Considerations
• Polyphonic Textures
• 17 Cantus Firmus Compositions: The Chorals Prelude
• 18 Invention: Bach's Two-Part Inventions
• 19 Three-Part Counterpoint: Bach's Sinfonia's. Canon: Two-Part Canon
• Accompanied Canon
• Canonic Chorale
• 21 Fugue I: Overview
• Subject and Response
• Countersubject
• 22 Fugue II: The Exposition in Three and Four Parts
• 23 Fugue III: Development
• Episodes
• Contrapuntal Techniques and Devices
• Stretto
• Concluding Techniques
• Genres Using Fugal Technique: Gigue, Fugal Sonata Movement
• Fugal Chorus
• Part Five Polyphony in the Classical and Romantic Eras (1750-1900)
• 25 Polyphony in the Classical Era: Counterpoint in Haydn, Mozart, and Beethoven
• 26 Polyphony in the Romantic Era: Counterpoint in Mendelssohn, Brahms, Franck, and Others
• Part Six Polyphony In The First Half of the Twentieth Century
• 27 Serial and Atonal Counterpoint
• 28 Counterpoint in Hindemith, Bartok, and Stravinsky
• Appendix A Identification of Examples in Chapter 1
• Appendix B The Ecclesiastical Modes and the Hexacord System
• Appendix C A Guide to the Interpretation of Figured Bass Symbols
• Glossary
• Discography
• Selected Bibliography
• List of Musical Examples for Discussion
• Index