Die Afrikaanse Protestantse Akademie Biblioteek

Includes bibliographical references (pages 129-131).

The techniques of polyphonic composition in the sixteenth and eighteenth centuries.

Introduction : The melodic line, the phrase, and the ecclesiastical modes -- 1. Preliminary considerations : Cadences, musica ficta, melodic skips, rhythmic structure, and the suspensional suncope -- 2. Two-part writing : Passing dissonance in half note values ; Suspensions : Cadential suspensions ; Ornamentation of suspensions: the 7-6 with change of bass -- Canon and free imitation ; Interior cadences: rests ; Quarter and eighth notes : General rules for the use of quarter notes ; Dotted half and single quarter notes ; Quarter notes in pairs only: accented quarter note passing tones ; Extended quarter note passages ; Eight notes ; The ornamentated and extended portamento devices ; The cambiata figure -- The setting of words ; Double counterpoint -- 3. Three-part writing : Harmonic material ; Passing dissonance ; Suspensions ; Final Cadences : The Phrygian cadence -- Interior cadences ; The fifth in combination with the sixth ; Final cadence formulas ; Invertible counterpoint and canon : Triple counterpoint ; Canon -- 4. Writing in four or more parts : Harmonic material ; Suspensions and the 6/5 ; Passing dissonance ; Cadences ; Quadruple and quintuple counterpoint and canon -- 5. Some aspects of composition in the seventeenth century : [Tonality , modulation, cadences, and note values] -- 6. Two-part writing: the two-part invention : [Imitation, harmonic material, the dominant seven chord, musica ficta and modulation, suspensions, passing dissonance and the use of sixteenth notes, melodic sequences, and cadences] -- 7. Three-part writing: the sinfonia : [Imitation, harmonic structures, suspensions, and passing dissonance] -- 8. Four-part writing: the fugue : Chromaticism : Major keys ; Minor keys -- The fugue : The exposition ; Development.