Counterpoint (Kontrapunkt in the original German) 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. Heinrich Schenker Heinrich Schenker (June 19, 1868 - January 13, 1935) was a music theorist, best known for his approach to musical analysis, now usually called Schenkerian analysis. ... 1910 (MCMX) was a common year starting on Saturday (see link for calendar) of the Gregorian calendar or a common year starting on Sunday of the 13-day slower Julian calendar. ... Year 1922 (MCMXXII) was a common year starting on Sunday (link will display full calendar). ...

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. Counterpoint is a very general feature of music (especially prominent in much Western music) whereby two or more melodic strands occur simultaneously - in separate voices, either literally or metaphorically (if the music is instrumental). ... In music, a cantus firmus (fixed song) is a pre-existing melody forming the basis of a polyphonic composition, often set apart by being played in long notes. ... Johann Joseph Fux Johann Joseph Fux (German fyːks) (1660 – February 13, 1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. ...

The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (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. The word theory has a number of distinct meanings in different fields of knowledge, depending on their methodologies and the context of discussion. ... Schenkerian analysis is an approach to musical analysis devised by Heinrich Schenker. ... In music, voice leading is the continuity between pitches or notes played successively in time. ... Harmony is the result of polyphony (more than one note being played simultaneously). ...

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 fugues). 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. Dr. Hugo Riemann (full name: Karl Wilhelm Julius Hugo Riemann) (July 18, 1849 - July 10, 1919) was a German musicologist. ... In music, the word texture is often used in a rather vague way in reference to the overall sound of a piece of music. ... In music, an invention is a short composition (usually for a keyboard instrument) with two-part counterpoint. ... In music, a fugue (IPA: ) is a type of contrapuntal composition. ... Music theory is a field of study that investigates the nature or mechanics of music. ... Raphael was famous for depicting illustrious figures of the Classical past with the features of his Renaissance contemporaries. ... Adoration, by Peter Paul Rubens. ...

References

• Aldwell, Edward and Schachter, Carl. Harmony and Voice Leading, 3rd ed. Wadsworth Group, 2003.
• Kennan, Kent. Counterpoint: based on eighteenth-century practice, 4th ed. Prentice Hall, 1999.
• Piston, Walter. Harmony, 5th ed. Mark DeVoto, rev. New York: W.W. Norton, 1987.
• Schenker, Heinrich. Counterpoint. John Rothgeb and Jurgen Thym, tr. John Rothgeb, ed. New York: Schirmer Books, 1987.