Product Description

Counterpoint manuals have long been central to the music education of composers, historians, and theorists. In this book a conductor uses counterpoint exercises to aid musicians in becoming sensitive to the fundamental ingredients of good music making. The author takes the reader step by step through the composition and performance of the counterpoint species, from unaccompanied lines to complex three part exercises. Each genre of counterpoint is preceded by a discussion of the musical element it introduces - line (cantus firmus), harmonic interval (two-part counterpoint), dissonance (second to fourth species), and rhythm (fifth species). "Write-throughs", which illustrate the composition of an exercise from start to finish, are included for each species. Throughout, the author focuses on the experience of musical beauty, recognizing that it results from the contribution of both composer and performer. Thus each exercise is successful only when it is composed, and performed, so that it allows this experience. And as each new element of music is introduced, its effect on the experience of beauty is considered. This book should have value for a wide range of readers, from accomplished soloists and composers to near beginners. It aims to advance conscious understanding of the principles of good music making, yet the reader needs to know little more at the outset than the major and minor scales, a few key signatures, and the names of intervals.

Product Details

• Amazon Sales Rank: #1577652 in Books
• Published on: 1990-11-28
• Original language: English
• Number of items: 1
• Binding: Paperback
• 240 pages

Customer Reviews

A Textbook that should be Taught in every Music Institution!
This is a primer for the non-conformist western classical musician/performer. It deals profoundly--yet in a tremendously pragmatic way--with the most essential, fundamentally important music-making elements. It is a practical guide for developing well grounded, musically valid, 'weighted', solid musical interpretations. This is a manual that 'teaches us how to fish' instead of the traditional 'fish giving' syndrome of our music educational establishments. Mr. Thakar--an alumni of genius conductor Sergiu Celibidache, now working for the N.Y. Phil--explains, expands and applies in practical examples concepts that are of paramount importance not only for the professional musician, but also for music students and anybody interested in the intricacies inherent to the art of music-making. How does a single melodic line behave? How can we bring elements of interpretational 'cohessiveness' that will give depth to our delivery, & make it come alive? How can we develop our own interpretational capabilities, & Why? This is to--my knowledge--the only textbook in the world concerning this most crutial subject: it should be obligatory study material in every music school, university, & conservatory in the world!

...completely missed the point...
Pedro J. Eustache says:
With all respect, I completely disagree with Mr Alec's review. It seems the point of the book is terribly missed. I don't think Mr. Thakar intended this to be just another "normal counterpoint manual". Mr. Thakar obviously must know that... instead, this is a practical, yet extremely challenging way to convey paramount concepts on interpretation applied into performance, 'DISGUISED' --so to speak-- AS A COUNTERPOINT METHOD!
The importance of this book is not small: to my knowledge it is THE ONLY book exposing, dealing, & explaining interpretational concepts based on a branch of philosophy called phenomenology [& yes, you are right, it might be too advanced for some], championed by the genius orchestral conductor maestro Sergiu Celibidache [Mr. Thakar's teacher].
Yes, I do believe you completely missed the point... Ah, & another little detail: Mr. Thakar was born & raised in New York City --ENGLISH IS HIS NATIVE LENGUAGE!

Counterpoint: Fundamentals of Music Making
Shipping was fast.
I got this book for my school and I was the first few who got the book really fast. The cover was ripping out a little so I had to put a tape on it but I don't mind that since I got the used one.
Thank you! ^^