Counterpoint: Based on Eighteenth-Century Practice

by Kent Kennan

The author's analysis of contrapuntal music of the 17th and 18th centuries provides a basic foundation of this style. He emphasizes both the techniques and the forms involved.

Genres: Music, Nonfiction, Education, Adult, Reference, Textbooks

96 pages, Hardcover

First published April 1, 1972

About the author

Kent Kennan was an American composer, author, educator, and professor.

He learned to play the organ and the piano and received degrees in composition and music theory from the University of Michigan and the Eastman School of Music in composition and music theory. At the age of 23, he was awarded the Prix de Rome, which allowed him to study for three years in Europe, primarily at the American Academy in Rome.

Kennan was a longtime professor at the University of Texas at Austin, also teaching briefly at Kent State University and for two years at Ohio State University during the 1950s.

His compositions include works for orchestra, chamber ensemble and solo instrument as well as songs and choral music. His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios. His Night Soliloquy was written in 1936 and is set for solo flute, piano and strings. Kennan composed his last major work in 1956 at the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing.

His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.

On May 5, 1957, Howard Hanson and the Eastman-Rochester Orchestra recorded Kennan's Three Pieces for Orchestra, a work composed in Rome in 1936 and premiered in 1939 by Hanson and the Rochester orchestra.

Reviews

[Genni · Rating 4 out of 5]

This is a solid introduction to 18th century counterpoint (i.e. there is no discussion of 16th century counterpoint). Each section contains a brief definition before launching into basic principles, moving from simpler forms and species to the more complex. These forms are usually seen as very strict, but Kennan discusses exceptions (usually by Bach) giving an appropriate sense of the degree of fluidity these techniques had in practice. He depends more on examples than words to provide definitions which, depending on the type of learner you are, could be seen as positive or negative. In all, a good overview.

[Jeff · Rating 2 out of 5]

I don't know why, but I always felt this book came up short.

[Stefanie Lubkowski · Rating 4 out of 5]

Clearly written, with good examples.

[Richard Pohl · Rating 5 out of 5]

Great book, I'd recommend to study it along with Gauldin to make some points more clear...

[Dan42guy · Rating 4 out of 5]

Great music theory book!