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Most Helpful Customer Reviews
0 of 1 people found the following review helpful
Format:Paperback
A "must" for everyone interested in any way in that style. Very good price. This is how a theory book must be written.
3 of 10 people found the following review helpful
Format:Paperback
I am a music student at the University of Saskatchewan, Canada. I am currently reading, Counterpoint by Knudd Jeppesen. I feel that Counterpoint is a must read for any serious music student. I am currently at page 20 with 15 pages of hand made notes. The historical facets of this book alone are amazing. Also the ease at which one is able to read Counterpoint is very pleasing. I strongly urge any theory/composition major to read Jeppesen 's book "Counterpoint."
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13 reviews
23 of 23 people found the following review helpful
A classic text now in an inexpensive and durable reprint!
2 Dec 2005
Format:Paperback
I am delighted that this classic work is back in print and available in such an affordable and durable edition from Dover. There are many Dover editions of books and music in my library and every one of them has served me durably and well. You can buy this book more inexpensively through Amazon.com than I did it thirty years ago (it was $17.95 at Borders when it was on State St.).
Why is this book so important? Because it not only teaches species counterpoint in a way contemporary students can understand - focusing on the Palestrina style of the 16th century, it also provides a survey of the ways counterpoint has evolved from the ninth through the nineteenth centuries. There are also good exercises for students to work out. Now, Jeppesen has been criticized because Palestrina purists have noted some ways in which Jeppesen talks about the Palestrina style do not exactly match up with the master's works. Well, la de da. The fact is a style is a generalization, not a model that accounts for all practice.
If you were going to read only one book on counterpoint, and wanted one you could understand and get the most from, this is it. There are many others I would recommend strongly (including the Schenker book - but for other reasons), but this is a fabulous book of pedagogy and deserves to be read by every serious student of music.
Why is this book so important? Because it not only teaches species counterpoint in a way contemporary students can understand - focusing on the Palestrina style of the 16th century, it also provides a survey of the ways counterpoint has evolved from the ninth through the nineteenth centuries. There are also good exercises for students to work out. Now, Jeppesen has been criticized because Palestrina purists have noted some ways in which Jeppesen talks about the Palestrina style do not exactly match up with the master's works. Well, la de da. The fact is a style is a generalization, not a model that accounts for all practice.
If you were going to read only one book on counterpoint, and wanted one you could understand and get the most from, this is it. There are many others I would recommend strongly (including the Schenker book - but for other reasons), but this is a fabulous book of pedagogy and deserves to be read by every serious student of music.
20 of 21 people found the following review helpful
The BEST counterpoint book out there!
14 Jan 2005
Format:Paperback
First of all, skip any of those counterpoint books that push that Schenkeian drivel on you. Jeppesen's book is pure and straighforward- no baloney!
There are so many superior features to this book that it's difficult to choose what to mention, so I'll just begin with the fact that you do NOT get flooded with more examples than you can possibly make use of. Jeppesen gives you exactly what you need, and streamlines his information to that which will teach you the 16th century style. He begins with a solid background in the history of music theory since the Middle Ages, which helps to understand not only the technical tools the 16th century style, but also the aesthetic objectives. How he breaks down the building of the melodic lines and the combining of the parts is surprisingly complete, considering the small size of this book. The language is quite dense, though, so it will take a few reads to reap the most benefits from this book. But it's more than worth the extra time!
I highly recommend this book for anyone who wants to learn 16th century counterpoint, and not spend time going around in circles with a lot of self-serving verbiage.
There are so many superior features to this book that it's difficult to choose what to mention, so I'll just begin with the fact that you do NOT get flooded with more examples than you can possibly make use of. Jeppesen gives you exactly what you need, and streamlines his information to that which will teach you the 16th century style. He begins with a solid background in the history of music theory since the Middle Ages, which helps to understand not only the technical tools the 16th century style, but also the aesthetic objectives. How he breaks down the building of the melodic lines and the combining of the parts is surprisingly complete, considering the small size of this book. The language is quite dense, though, so it will take a few reads to reap the most benefits from this book. But it's more than worth the extra time!
I highly recommend this book for anyone who wants to learn 16th century counterpoint, and not spend time going around in circles with a lot of self-serving verbiage.
15 of 15 people found the following review helpful
Highly recommend
24 Aug 2004
Format:Paperback
This is an excellent book for those who wish to learn counterpoint. It provides a history of counterpoint and uses the species approach of counterpoint which is in my opinion the best way to get a comprehensive step by step, thorough grasp on the concepts of counterpoint. It is focused on counterpoint of the 16th century as the title indicates and is very similiar to Fuxs but is more in depth. Jeppesen explains about melody (particularly the practices of Palestrina) and writing without the cantus firmus using tequniques such as imitation dimmunition and augmentation of a melody. Definately a "must have" for those interested in counterpoint.
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