Eighteenth-Century Counterpoint


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Benjamin, Thomas. 2005. The Craft of Modal Counterpoint, 2nd ed. New York: Routledge. {GB; Full text: Ebook Central}

_______________. 2003. The Craft of Tonal Counterpoint, 2nd ed. New York: Routledge. {GB; Full text: Ebook Central}
Bruhn, Siglind. 1993. J.S. Bach's Well-Tempered Clavier: In-depth Analysis and Interpretation. Hong Kong: Mainer. {Gortz Edition}

Bungert, James. 2015. "Bach and the Patterns of Transformation." Music Theory Spectrum 37/1 (Spring 2015): 98–119. {JSTOR}

Christensen, Thomas. 2016. "Thoroughbass As Music Theory," in The Work of Music Theory. New York: Routledge. {GB;}

_________________. 1992. "Règle de l'Octave" in Thorough-Bass Theory and Practice." Acta Musicologica 64/2 (July-December 1992): 91–117 {JSTOR}

Davidian, Teresa. 2015. Tonal Counterpoint for the 21st-Century Musician: An Introduction. New York: Rowan & Littlefield. {GB}

Derr, Ellwood. 1981. "The Two-Part Inventions: Bach's Composers' Vademecum." Music Theory Spectrum 3 (Spring 1981): 26–48. {JSTOR}

Fux, Johann Joseph. 1965/1725. The Study of Counterpoint from Johann Joseph Fux's Gradus ad Parnassum, translated and edited by Alfred Mann. New York: W. W. Norton. {GB}

Gauldin, Robert. 2013/1995. A Practical Approach to 18th Century Counterpoint. Long Grove, IL: Waveland Press. {GB1; GB2}

_____________. 2004. "An Introduction to Species Counterpoint," in Harmonic Practice in Tonal Music, 2nd ed. New York: Norton, pp. A14-25. {GB}

_____________. 1993. "Fux to Bach: Bridging the Gap." Indiana Theory Review. 14/2 (Fall 1993): 45–72. {IUScholarWorks}

Gjerdingen, Robert O. 2020. Child Composers in the Old Conservatories: How Orphans Became Elite Musicians. New York: Oxford University Press. {GB; YouTube Channel}

_________________. 2007. Music in the Galant Style. New York: Oxford University Press. {GB; Ebook Central}

Green, Douglass and Evan Jones. 2010. The Principles and Practice of Modal Counterpoint. London: Routledge. {GB; Full-Text: Ebook Central}

___________________________. 2015. The Principles and Practice of Tonal Counterpoint. London: Routledge. {GB}

Gotham, Mark, et al. 2020. Open Music Theory, Version 2 (OMT2). Viva Press Books. Available online at: <>.

Kennan, Kent. 1998. Counterpoint, 4th ed. Englewood Cliffs, NJ: Prentice Hall. {GBd}

Kerman, Joseph. 2015/2005. Art of Fugue: Bach Fugues for Keyboard, 1715–1750. Berkeley: University of California Press. {Full-text: Open JSTOR; Luminos}

Lawrence, Michael. 2010. Bach and Friends. DVD. Michael Lawence Films. {; see also MUSC 726C}

McCreless, Patrick. "Ownership, In Music and Music Theory." Music Theory Online 17/1 (April 2011). {MTO}

Pearsall, Edward and Byron Almén. 2006. "The Divining Rod: On Imagination, Interpretation, and Analysis." In Approaches to Meaning in Music, edited by Byron Almén and Edward Pearsall. Bloomington, IN: University of Illinois Press. {Ebook Central}

Poulin, Pamela I. 2008. "Teaching Fugue à la Handel - Lessons for Princess Anne." Journal of Music Theory Pedagogy: 22/5 {JMTP}

Remeš, Derek. 2021. The Art of Preluding: Deconstructing and Reconstructing the Preludes in J. S. Bach’s Well-Tempered Clavier I & II. Cazenovia, NY: The Leupold Foundation. {Intro.: YouTube}

___________. 2020. Compendium of Voice-Leading Patterns from the 17th and 18th Centuries to Play, Sing, and Transpose at the Keyboard. Lucerne, Switzerland: Music Hochschule. {Author's Website}

____________. 2020. "Thoroughbass, Chorale, and Fugue: Teaching the Craft of Composition in J. S. Bach’s Circle.” Ph.D. Dissertation, Hochschule für Musik Freiburg. {Author's Website}

___________. 2019. Realizing Thoroughbass Chorales in the Circle of J.S. Bach. 2 vols. Cazenovia, NY: The Leupold Foundation. {GB; Intro.: YouTube}

Rothgeb, John. 1975. "Strict Counterpoint and Tonal Theory." Journal of Music Theory 19/2 (Autumn 1975): 260–284.

Santa, Mathew. 2023. Hearing Form: Musical Analysis With and Without the Score, 3rd ed. New York: Routledge. {GB; Routledge}

Schubert, Peter and Christoph Neidhöfer. 2023/2006. Baroque Counterpoint, Expanded Edition. Buffalo: SUNY Press. {GB1; GB2}

Sprick, Jan Phillipp. "Sequences: Between Affirmation and Destruction of Tonality." Music Theory Online 24/2 (December 2018). {MTO}

Stoia, Nicholas. 2015. "Triple Counterpoint and Six-Four Chords in Bach's Sinfonia in F Minor." Music Analysis 34/3 (October 2015): 305–334. {JSTOR}

Taruskin, Richard. 2011. Music in the Seventeenth and Eighteenth Centuries: The Oxford History of Western Music. New York: Oxford University Press. {GB; Full text: Ebook Central}

Tatlow, Ruth. 2015. Bach's Numbers: Compositional Proportion and Significance. Cambridge: Cambridge University Press. {GB; Full text: EBSCOhost}

Tymoczko, Dmitri.
2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press. {GB; Full text: Ebook Central}

Yearsley, David. 2002. Bach and the Meanings of Counterpoint. Cambridge: Cambridge University Press. {GB}

Zarlino, Gioseffo. 1976. The Art of Counterpoint: Part III of Le Instistutioni harmoniche, translated by Guy A. Marco and Claude V. Palisca. New York: Norton. {GB}

Updated: November 19, 2023

Reginald Bain | University of South Carolina | School of Music