The art of counterpoint . s*£. A PLEA FOR THE STUDY OF STRICT COUNTERPOINT. As the first four orders are but a means to the end of writing thefifth order, and as they are of little value in themselves, it seemedbest not to attempt till now to explain the advantages derived froma study of the art of counterpoint. In florid counterpoint the student is for the first time attracted bymusical possibilities. All the other orders are irksome, dry,mechanical, and stilted. The musical nature is throttled by inelasticrules. The advantage, however, of forcing ones self to expresspotential melody under so
The art of counterpoint . s*£. A PLEA FOR THE STUDY OF STRICT COUNTERPOINT. As the first four orders are but a means to the end of writing thefifth order, and as they are of little value in themselves, it seemedbest not to attempt till now to explain the advantages derived froma study of the art of counterpoint. In florid counterpoint the student is for the first time attracted bymusical possibilities. All the other orders are irksome, dry,mechanical, and stilted. The musical nature is throttled by inelasticrules. The advantage, however, of forcing ones self to expresspotential melody under so many restrictions as strict counterpointenjoins, cannot be overestimated. The three great classics of theschool of Vienna,— Haydn, Mozart, and Beethoven — are suchexamples of its healthful influence that emphasis on this pointwould seem superfluous. One often hears a complaint from a would-be composer that hecannot express his ideas. He can start any number of melodies, orcompositions in the larger forms, but he cannot de
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