The Study of Counterpoint from Johann Joseph Fux's Gradus Ad Parnassum

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W. W. Norton & Company, 1965 - Music - 156 pages
30 Reviews
The most celebrated book on counterpoint is Fux's great theoretical work ?Gradus ad Parnassum.? Since its appearance in 1725, it has been used by and has directly influenced the work of many of the greatest composers. J.S. Bach held it in high esteem, Leopold Mozart trained his famous son from its pages, Haydn worked out every lesson with meticulous care, and Beethoven condensed it into an abstract for ready reference. An impressive list of nineteenth-century composers subscribed to its second edition, and in more recent times Paul Hindemith said, "Perhaps the craft of composition would really have fallen into decline if Fux's ?Gradus? had not set up a standard."

Originally written in Latin, ?Steps to Parnassus? was translated into the principal European languages, but the only English version was a free paraphrase published in 1886. The present translation by Alfred Mann is therefore the first faithful rendering in English from the original Latin and presents the essence of Fux's teachings. For its distinction as a classic and its undiminished usefulness for the modern student it is a privilege to offer this fine translation in the Norton Library.

  

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Review: The Study of Counterpoint

User Review  - Brittannia - Goodreads

Fux is incredibly self-righteous in his nagging soliloquy about "the rise of three dimensional thought" (all to be found in his cumbersome introduction and foreward). He looks to Palestrina (late ... Read full review

Review: The Study of Counterpoint

User Review  - Peter Cho - Goodreads

Oh venerable master, you are my constant companion! Read full review

Contents

INTRODUCTION
vii
THE AUTHORS FOREWORD TO THE READER
17
NOTE AGAINST NOTE
27
THE SECOND SPECIES OF COUNTERPOINT
41
Second Part
71
Third Part
109
APPENDIX
141
BIBLIOGRAPHY
149
Copyright

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About the author (1965)

JON NEWSOM is Chief, Music Division, Library of Congress. ALFRED MANN, Professor Emeritus of Musicology at Rutgers University and at the Eastman School of Music, enjoyed a 50-year friendship with Hans Moldenhauer.

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