The contrapuntal style of Hector Berlioz

UNCG Author/Contributor (non-UNCG co-authors, if there are any, appear on document)
Richard Samuel Silverman (Creator)
The University of North Carolina at Greensboro (UNCG )
Web Site:
Jack Jarrett

Abstract: Although some aspects of Berlioz' style have been investigated, such as harmony and thematic-developinent, counterpoint has been largely neglected. Little of a technical nature has been hitherto written about Berlioz' canons, fugues, or theme-conbinations. Although Berlioz had little enthusiasm for traditional contrapuntal practices, and the music of Bach in particular, his own music is far from being devoid of contrapuntal writing. It is the intent of this study to offer a detailed examination of Berlioz' contrapuntal style. Procedures. Since Berlioz' musical output is not great, seven of his major works were chosen as being representative of his style. These seven compositions include three symphonies, three religious works, and a dramatic piece. In addition to consulting written sources, each work was examined for contrapuntal passages. Each passage was then analysed, with particular attention given to contrapuntal procedures.

Additional Information

Language: English
Date: 1970
Berlioz, Hector, $d 1803-1869 $x Criticism and interpretation
Counterpoint $y 19th century

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