The Art of 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}

Bent, Margaret. 2023. The Motet in the Late Middle Ages. New York: Oxford University  Press. {GB}

Biamonte, Nicole. 2016. "Online Music Theory in Music Theory Online." Zeitschrift der Gesellschaft für Musiktheorie 13/2 (2016): 297-309. {ResearchGate}

Bregman, Albert S. 1990. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge, MA: MIT Press. {GB}

Bruhn, Siglind. 1993. J.S. Bach's Well-Tempered Clavier: In-depth Analysis and Interpretation. Hong Kong: Mainer. {Gortz Edition}

Christensen, Thomas. 2002. The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press. {GB}

Cowell, Henry. 1930/1996. New Musical Resources. Cambridge: Cambridge University Press. {GB}

Dahn, Luke. 2021. The Four-Part Chorales of J.S. Bach. Available online at: <>.

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

Denisch, Beth. 2017. Contemporary Counterpoint: Theory & Application. Milwaukee, WI: Hal Leonard Corporation. {GB}

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

Gauldin, Robert. 2013a. A Practical Approach to 16th Century Counterpoint, Revised Edition. Long Grove, IL: Waveland Press. {GB}

_____________. 2013. A Practical Approach to 18th Century Counterpoint, Revised Edition. Long Grove, IL: Waveland Press. {GB}

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: <>.

Hanning, Barbara Russano. 2010. Concise History of Western Music, 4th ed. New York: Norton {GB}

Harrison, Daniel. 1994. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press. {GB}

Hill, John Walter. 2005. Baroque Music: Music in Western Europe, 1580-1750. New York: Norton. {GB; Norton}

Huron, David. 2016. Voice Leading: The Science Behind a Musical Art. Cambridge, MA: MIT Press. {GB}

Jeppesen, Knud. 1992. Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century. Mineola, NY: Dover. {GB}

Green, Douglass. M. and Evan Jones. 2015. “Ch. 11 Counterpoint in the Twentieth-Century and Beyond.” In The Principles and Practice of Tonal Counterpoint. New York: Routledge. {GB}

Kennan, Kent. 1999. Counterpoint, 4th ed. Englewood Cliffs, NJ: Prentice Hall. {GBd}

Krenek, Ernst. 1940. Studies in Counterpoint: Based on the Twelve-Tone Technique. New York: G. Schirmer. {GB}

Kurth, Ernst. 1991/1917. "Part 1 – Foundations of Linear Counterpoint." In Ernst Kurth: Selected Writings, edited Lee A. Rothfarb. Cambridge: Cambridge University Press. {Cambridge}

Krützfeldt, Werner, and Claude Palisca. “Kontrapunkt.” 1996. In Die Musik in Geschichte und Gegenwart, Sachteil 5, Kas–Mein. 2d ed. Edited by Friedrich Blume, 595–628, Kassel, Germany: Bärenreiter,

Laitz, Stephen. The Complete Musician, 4th ed. New York: Oxford University Press. {GB}

LaRue, Jan. 2011/1970. Guidelines for Style Analysis, Revised Edition. Sterling Heights, MI: Harmonie Park Press. {GB}

_________. 1973. "Style Analysis: An Approach That Works at Any Level, with Any Element, in Any Music." Music Educators Journal 59/5 (January 1973): 62–64. {JSTOR}

Lehman, Frank. 2018. Hollywood Harmony: Musical Wonder and the Sound of Cinema. New York: Oxford University Press. {GB; Companion Website}

Lester, Joel. 1992. Compositional Theory in the Eighteenth Century. Cambridge: Harvard University of Press. {GB}

Lochhead, Judy. 2015. Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis. New York: Routledge. {GB}

Martin, Henry. 2005. Counterpoint: A Species Approach Based on Schenker's Counterpoint. Lanham, MD: Scarecrow Press. {GB}

Meyer, Leonard. 1989. Style and Music: Theory, History, and Ideology. Chicago: University of Chicago Press. {GB}

Milhaud, Darius. 2006/1923. “Polytonalité et Atonalité,” translated by Bryan R. Simms, Revue Musicale 4 (1923): 29–44. {}

Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. New York: Routledge. {GB}

Nobile, Drew F. "Counterpoint in Rock Music: Unpacking the Melodic-Harmonic Divorce." Music Theory Spectrum 37/2 (Fall 2015): 189-203. {JSTOR}

Owen, Hal. 1992. Modal and Tonal Counterpoint: From Josquin to Stravinsky. New York: Schirmer. {GB}

Palisca, Claude. 1995. Musica Enchiriadis: And, Scolica Enchiriadis. New Haven: Yale University Press. {GB}\

Perle, George. 1962/1991. Serial Composition and Atonality, 6th ed. rev. Berkeley: University of California Press. {GB}

Persichetti, Vincent. 1961. Twentieth-Century Harmony: Creative Aspects and Practice. New York: Norton. {GB}

Pesic, Peter. 2022. Polyphonic Minds: Music of the Hemispheres. Cambridge, MA: MIT Press. {GB}

Piston, Walter. 1947. Counterpoint. New York: Norton. {GBd}

Riemann, Hugo. 1962. History of Music Theory: Polyphonic Theory to the Sixteenth Century, translated by Raymond Haggh. Lincoln: University of Nebraska Press. {GB}

Rosen, Charles. 19986. The Classical Style: Haydn, Mozart, Beethoven, Expanded Edition. New York: Norton. {GB}

Smith, Charlotte. 1989. A Manual of Sixteenth-century Contrapuntal Style. Newark: University of Delaware Press. {GB}

Rothfarb, Lee A. 2016. Ernst Kurth as Theorist and Analyst. Philadelphia: University of Pennsylvania Press. {GB}

Russo, William. 1968. Jazz Composition and Orchestration. Chicago: University of Chicago Press. {GB}

Sachs, Klaus-Jürgen, and Carl Dahlhaus. 2001. “Counterpoint.” In Grove Music Online. New York: Oxford University Press. {Grove}

Salzer, Felix and Carl Schachter. 1989. Counterpoint in Composition: The Study of Voice Leading. New York: Columbia University Press. {GBd}

Schoenberg, Arnold. 1963. Preliminary Exercises in Counterpoint. New York: Faber & Faber. {GB; Internet Archive}

Schoenberg, Arnold, Leonard Stein, ed, and Leo Black, trans. 1984. Style and Idea: Selected Writings of Arnold Schoenberg. Berkeley: University of California Press. {GB}

Schubert, Peter. 2008/1999. Modal Counterpoint, 2nd ed. New York: Prentice Hall. {GB1; 1/e GB2}

Schubert, Peter and Christoph Neidhöfer. 2023/2006. Baroque Counterpoint. Expanded Edition. Buffalo, NY: State University of New York Press. {GB; 1/e: GB}

Searle, Humphrey. 1954. Twentieth-Century Counterpoint: A Guide for Students. New York: Williams and Norgate. {GBd}

Seaton, Douglass. 2017. Ideas and Styles in the Western Musical Tradition, 4th ed. New York: Oxford University Press. {GBd; OUP}

Straus, Joseph N. 2022. The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses. New York: Oxford University Press. {GB; Oxford; Companion Website}

______________ 2016. Introduction to Post-Tonal Theory, 4th ed. New York: Norton. {GB}

Taneiev, Serge Ivanovitch. 1963. Convertible Counterpoint in the Strict Style. Boston: Bruce Humphries Publishers. {GB; Internet Archive}

Taruskin, Richard. 2006a. Music in the Early Twentieth Century. New York: Oxford University Press. {GB}

______________. 2006b. Music in the Late Twentieth Century. New York: Oxford University Press. {GB}

______________. 2005. The Oxford History of Western Music: Music From the Earliest Notations to the Sixteenth Century. New York: Oxford University Press. {GB}

Taruskin, Richard and Christopher H. Gibbs. 2012. The Oxford History of Western Music, College Edition. New York: Oxford University Press. {GB}

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}

Webern, Anton. 1963/1933. Webern, The Path to New Music (1932-33), edited by Willi Reich. Bryn Mawr, PA: Theodore Presser. {Internet Archive}

Wilson, David Fenwick. 1990. Music of the Middle Ages: An Anthology for Performance and Study. New York: Schirmer. {GB}

Wright, Craig. 2016. Listening to Music, 8th ed. New York: Cengage. {GB; 9th ed: Cengage; YouTube Playlist}

Zank, Stephen. 2009. "Ravel and Sound: Opposed Counterpoint." In Irony and Sound: The Music of Maurice Ravel. Rochester: University of Rochester Press. {GB}

Updated: July 2, 2024

Reginald Bain | University of South Carolina | School of Music