BAIN MUSC 312 Bibliography

Benjamin, Thomas. 2003. The Craft of Tonal Counterpoint, 2nd ed. New York: Routledge. {GB; TCL}

_______________. 1986. Counterpoint in the Style of J.S. Bach. New York: Schirmer. {GB}

Berry. Wallace. Structural Functions in Music. 1987/1976. Mineola, NY: Dover. {GB}

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

Chafe, Eric. 1991. Tonal Allegory in the Vocal Music of J.S. Bach. Berkeley, CA: University of California Press. {GB}

Dahn, Luke. 2017. Bach-Chorales.com. Available online at: <https://www.bach-chorales.com/Index.htm>.

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

Dreyfus, Laurence. 1996. Bach and the Patterns of Invention. Cambridge, MA: Harvard University Press. {GB}

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

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

_____________. 2004. Harmonic Practice in Tonal Music, 2nd ed. New York: Norton, pp. A14-A25. {GB}

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

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

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

Gotham, Mark, Kyle Gullings, Chelsey Hamm, Bryn Hughes, Brian Jarvis, Megan Lavengood, and John Peterson. 2023. Open Music Theory, Version 2 (OMT2), edited by Erin K. Maher. Viva Press Books. {OMT2}

Hindemith, Paul. 1970/1942. The Craft of Musical Composition, Book 1: Theory. New York: Schott. {GB; IA}

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

___________. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press. {GB}

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

Kostka, Stefan and Dorothy Payne. 2008. Tonal Harmony: With an Introduction to Twentieth-Century Music. New York: McGraw Hill. {GB}

Laitz, Steven. 2016. The Complete Musician: An Integrated Approach to Theory, Analysis and Listening, 4th ed. New York: Oxford. {GB}

Larson Steve. 2012. Musical Forces: Motion, Metaphor, and Meaning in Music. Bloomington: Indiana University Press. {GB}

Martino, Donald. 1985. 178 Chorale Harmonizations of J.S. Bach: A Comparative Edition for Study, 2nd ed. Newton, MA: Dantalian. {GB}

Mazzola, Guerino. 2018. The Topos of Music I: Theory: Geometric Logic, Classification, Harmony, Counterpoint, Motives, Rhythm, 2nd ed. New York: Springer. {GB}

Meyer, Leonard. 1956. Emotion and Meaning in Music. Chicago: University of Chicago Press. {GB}

Narmour, Eugene. 1990. The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model. Chicago: University of Chicago Press. {GB}

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

Parncutt, Richard, 2024. Psychoacoustic Foundations of Major-Minor Tonality. Cambridge, MA: MIT Press. {MIT Open Access}

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

Remes, Derek. 2025. Compendium of Voice-Leading Patterns: From the 17th and 18th Centuries to Play, Sing, and Transpose at the Keyboard. {TU Dortmund University}

____________. 2019. Realizing Thoroughbass Chorales In The Circle of J. S. Bach. Sources by J. S. Bach, C. P. E. Bach, and D. Kellner, with a Tutor by D. Remes. Cazenovia, New York: Wayne Leupold Editions. {GB}

Rogers, Michael R. 2004. Teaching Approaches in Music Theory, 2nd ed. Carbondale: Southern Illinois University Press. {GB}

Roig-Francoli, Miguel A. 2019/2003. Harmony in Context, 3rd ed. New York: McGraw Hill. {1/e: GB; 1/e: 3/e: GB}

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

Sanguinetti, Giorgio. 2012. The Art of Partimento: History, Theory, and Practice. New York: Oxford University Press. {GB}

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

Schubert, Peter and Christoph Neidhöfer. 2023/2006. Baroque Counterpoint. Expanded Edition. Buffalo, NY: State University of New York Press. {1/e: GB; 3/e: GB}

Taneiev, Serge I. 1962. Convertible Counterpoint in the Strict Style. Boston: Bruce Humphries. {GB}

Terry, Charles Sanford. 1915. Bach's Chorals. Cambridge, Cambridge: University Press. {Internet Archive; IMSLP}

Turek, Ralph. 1995. Elements of Music: Concepts and Applications, 2nd ed. Vol. 2. New York: McGraw Hill, pp. 8-15. {GB}

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

Zahn, Johannes. 1889. Melodien der deutschen evangelischen Kirchenlieder. Gütersloh: C. Bertelsmann. {Internet Archive; IMSLP}