Counterpoint (Schenker)
Encyclopedia
Counterpoint is the second volume of Heinrich Schenker's
New Musical Theories and Fantasies (the first is Harmony
and the third is Free Composition
). It is divided into two "Books", the first published in 1910, and the second in 1922.
The subject matter of the work is species counterpoint, also referred to as "strict counterpoint". Book I is concerned with the construction of the cantus firmus
and the rules of counterpoint in two voices; Book II treats the cases of three- and four-voice counterpoint. Schenker thus follows the model of Fux in presenting all of the species in turn before adding additional voices.
(see Schenkerian analysis
). For Schenker, the study of counterpoint is the study of voice leading
; in particular, contrapuntal theory is separate from and independent of harmonic
theory, which is concerned with scale-steps (see Harmony
). In "free composition" (Schenker's term for actual music, as opposed to theoretical exercises), both of these two kinds of phenomena interact, together with the principle of repetition. Schenker thus views the rules of strict counterpoint as basic structures underlying the complex voice-leading patterns of free composition, and not necessarily as models to be literally imitated on the actual musical surface. Throughout Counterpoint, Schenker cites examples from the musical literature to demonstrate the highly varied ways in which the principles of strict counterpoint can be applied in free composition.
As in his other works, Schenker is highly critical in Counterpoint of many of his theoretical predecessors, and of pedagogical methods then (and still) prevalent. In particular, he opposes the idea (promulgated by Riemann
and others) that the purpose of contrapuntal studies is to acquire the skill of creating polyphonic textures in works of free composition (e.g. the writing of inventions and fugue
s). Rather, on Schenker's view, counterpoint (the "pure theory of voice-leading") is entirely distinct from the "theory of composition", just as it is also distinct from the theory of scale-steps, or harmony. It is of interest to note that, although many of Schenker's ideas have had a widespread influence on present-day music theorists
, his views on pedagogy and the nature of contrapuntal studes have not prevailed: the word "counterpoint", as used in most universities and conservatories, continues to refer to courses that teach the student to imitate Renaissance
or Baroque
musical surfaces, and "harmony" courses continue to be concerned with exercises in voice-leading.
Heinrich Schenker
Heinrich Schenker was a music theorist, best known for his approach to musical analysis, now usually called Schenkerian analysis....
New Musical Theories and Fantasies (the first is Harmony
Harmony (Schenker)
Harmony is a book published in 1906 by Heinrich Schenker. It is the first installment of Schenker's three-volume treatise on music theory entitled New Musical Theories and Fantasies; the others are Counterpoint and Free Composition...
and the third is Free Composition
Free Composition
Free Composition is a treatise by Heinrich Schenker, and possibly Schenker's best known work. The third volume of New Musical Theories and Fantasies , it was first published posthumously in 1935.Free Composition aims to present a complete and systematic outline of Schenker's mature theory, relying...
). It is divided into two "Books", the first published in 1910, and the second in 1922.
The subject matter of the work is species counterpoint, also referred to as "strict counterpoint". Book I is concerned with the construction of the cantus firmus
Cantus firmus
In music, a cantus firmus is a pre-existing melody forming the basis of a polyphonic composition.The plural of this Latin term is , though the corrupt form canti firmi is also attested...
and the rules of counterpoint in two voices; Book II treats the cases of three- and four-voice counterpoint. Schenker thus follows the model of Fux in presenting all of the species in turn before adding additional voices.
The Principles
The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theoryTheory
The English word theory was derived from a technical term in Ancient Greek philosophy. The word theoria, , meant "a looking at, viewing, beholding", and referring to contemplation or speculation, as opposed to action...
(see Schenkerian analysis
Schenkerian analysis
Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker. The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work. The theory's basic tenets can be viewed as a way of defining tonality in music...
). For Schenker, the study of counterpoint is the study of voice leading
Voice leading
In musical composition, voice leading is the term used to refer to a decision-making consideration when arranging voices , namely, how each voice should move in advancing from each chord to the next.- Details :...
; in particular, contrapuntal theory is separate from and independent of harmonic
Harmony
In music, harmony is the use of simultaneous pitches , or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic...
theory, which is concerned with scale-steps (see Harmony
Harmony (Schenker)
Harmony is a book published in 1906 by Heinrich Schenker. It is the first installment of Schenker's three-volume treatise on music theory entitled New Musical Theories and Fantasies; the others are Counterpoint and Free Composition...
). In "free composition" (Schenker's term for actual music, as opposed to theoretical exercises), both of these two kinds of phenomena interact, together with the principle of repetition. Schenker thus views the rules of strict counterpoint as basic structures underlying the complex voice-leading patterns of free composition, and not necessarily as models to be literally imitated on the actual musical surface. Throughout Counterpoint, Schenker cites examples from the musical literature to demonstrate the highly varied ways in which the principles of strict counterpoint can be applied in free composition.
As in his other works, Schenker is highly critical in Counterpoint of many of his theoretical predecessors, and of pedagogical methods then (and still) prevalent. In particular, he opposes the idea (promulgated by Riemann
Hugo Riemann
Karl Wilhelm Julius Hugo Riemann was a German music theorist.-Biography:Riemann was born at Grossmehlra, Schwarzburg-Sondershausen. He was educated in theory by Frankenberger, studied the piano with Barthel and Ratzenberger, studied law, and finally philosophy and history at Berlin and Tübingen...
and others) that the purpose of contrapuntal studies is to acquire the skill of creating polyphonic textures in works of free composition (e.g. the writing of inventions and fugue
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
s). Rather, on Schenker's view, counterpoint (the "pure theory of voice-leading") is entirely distinct from the "theory of composition", just as it is also distinct from the theory of scale-steps, or harmony. It is of interest to note that, although many of Schenker's ideas have had a widespread influence on present-day music theorists
Music theory
Music theory is the study of how music works. It examines the language and notation of music. It seeks to identify patterns and structures in composers' techniques across or within genres, styles, or historical periods...
, his views on pedagogy and the nature of contrapuntal studes have not prevailed: the word "counterpoint", as used in most universities and conservatories, continues to refer to courses that teach the student to imitate Renaissance
Renaissance
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historical era, but since the changes of the Renaissance were not...
or Baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
musical surfaces, and "harmony" courses continue to be concerned with exercises in voice-leading.