Counterpoint

This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-à-vis other music,” and – crucially – “the knowingness that music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom.

Following the ideology proposed by the Motion Bank Community – i.e. using an interdisciplinary methodological approach that puts in dialogue theory, practice, science and new digital technologies – this text suggests the reading of the choreographic counterpoint throughout the
analysis of the concept of “focus”.In this article, I mean by  choreographic counterpoint the synchronous movement between dancers during a live performance. Through the interviews
made to some performers-researchers-choreographers and collaborators with The Forsythe Company – Dana Caspersen, Nicole Peils, Fabrice Mazliah and Tillman O’Donnell –, I analyze the
body knowledge using the principles of enactive approach at perception proposed by the philosopher Alva Noë.

Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts.

For a recording with a score animation see the link below:
https://www.youtube.com/watch?v=TBu66rLAv7I

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.
James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.
Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.
In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""

A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.

For a recording and score-video see the link below:
https://www.youtube.com/watch?v=_p9WQlyVPrA

A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing effect between the triplum and the cantus (top two voices) nearly 600  years before the 20th century composer Steve Reich popularized such musical textures. Check out the score in motion at https://www.youtube.com/watch?v=YrOEOuwYy3M

A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson.

The text of the first verse is underlaid in this edition, though only the first few words actually appear in the manuscript. The complete text as found in a number of Ghizeghem's sources with a complete translation is given at the end.

It seems unlikely that the outer voices should be sung, given their continual motion, frequent awkward leaps, and extreme ambitus.  However, the inner voice certainly could be sung.

Questo volume nasce da un’esigenza: fare il punto della situazione dello stato degli studi musicologici sulla didattica del partimento (la cui pratica discorsiva è oggi assodata e consolidata) e più in generale della composizione in Italia e in Francia fra Settecento e Ottocento e riproporre alcune indagini concepite a partire dagli anni ’80 del secolo scorso a tutt’oggi con l’obiettivo di verificare quanto tali studi siano ancora attuali e quanto necessitino di aggiornamento, rimodulazione e nuovo inquadramento, tenendo conto del fatto che tali indagini hanno preso l’avvio nell’era predigitale.
Il titolo del volume, La didattica del partimento, ricalca quello di un saggio pubblicato nel 1993 che ha proposto all’attenzione della comunità degli studiosi un concetto, un modello, una tipologia di insegnamento, uno stile di apprendimento invalso nei conservatori napoletani a partire dal XVII secolo. Da Napoli le indagini si sono estese gradualmente, proficuamente e senza soluzione di continuità ad altre ‘piazze’ d’Italia e d’Europa. Le tappe della disseminazione progressiva dell’attenzione e dell’interesse possono essere descritte in sintesi seguendo un filo costante. Il volume ripropone nove saggi (pubblicati nella loro veste originaria fra il 1993 e il 2013) rivisti, corretti e aggiornati alla luce di nuove acquisizioni documentarie, di approfondimenti d’indagine e della più significativa bibliografia recente.

Read online to see the complete examples:

https://mtosmt.org/issues/mto.20.26.3/mto.20.26.3.remes.html

ABSTRACT: This article provides the first English translation of a little-known manuscript treatise by the central-German composer and Capellmeister, Gottfried Heinrich Stölzel (1690-1749), titled Kürzer und gründliche Unterricht (Brief and Thorough Instruction, ca. 1719-49). Stölzel's method frames speculative theory (trias harmonica and the tabula tradition) practically in terms of thoroughbass in order to provide simple instruction on how to invent the bass and middle voices to an original chorale melody. In the second half of the treatise, Stölzel uses thoroughbass to describe not only harmony, but also counterpoint. He does so by explaining various dissonant intervallic constellations in terms of the traditional terms "agent" and "patient," which describe the two voices involved in a dissonant syncopatio. Stölzel's treatise thus has both historical and practical value, since his method of chorale harmonization can provide welcome guidance for today's students and pedagogues.

A non-barred critical transcription of Alexander Agricola's motet-chanson "Belles sur toutes - Tota pulchra es" from Florence, Bibliotea del Conservatorio Luigi Cherubini,  MS 2439 ff. 63v-64r.

For a recording of the music with a score-video see link below:
https://www.youtube.com/watch?v=r2N_Ru9xjuA

The following text outlines a particular developement of contrapuntal thinking in Scriabins compositions that I call ›metamorphosis‹ of counterpoint. As common practice counterpoint depends on the preference of vertical conditions (»Präferenz vertikaler Gesichtspunkte«, Krützfeldt 2005) the progressing decline of tonal principles reveals a transformation in the concept of counterpoint that leads towards a stronger autonomy of the melodic line (Krützfeldt: »Logik der Linie«). I begin with the examination of some early Scriabin-examples from the apprenticeship with Sergei Taneyev that proof Scriabins appropriation of elementary contrapuntal principles and the use of traditional musical schemata. Two further examples show a loosening of primary tonal elements such as the decay of the outer voice framework (Außenstimmensatz) as well as the gradual loss of the “classic” location of chords on certain degrees as codified in the Rule of the octave (Försterscher “Sitz der Akkorde”). Due to that modified tonal circumstances a transformed concept of counterpoint begins to emerge that is less depending on a certain compulsive interval framework and is in that sense ‘liberated’.

Performance score of Francesco Landini's madrigal, " Musica Son - Già Furon - Ciascun Vuol" transcribed from the Squarcialupi Codex (121v-122r). For a video of the score with a performance see the link below.

https://www.youtube.com/watch?v=YNcfZSBF9ow

This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music.

Also included is a full explanation of the various mensurations and colorations that appear in the piece.

The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit.

For a score animation with the transcription and original manuscript, see this link:
https://www.youtube.com/watch?v=iaeOWdXM4Pg

For a complete performance recording and video see: https://www.youtube.com/watch?v=jZQWsroyKj0

This is a work for organ based on the open motiv of the medieval chant "Tantum Ergo." The work is in four sections, which may be played as independent pieces or subsets for liturgical use or as the complete set. The first performance was given by organist Matt Gender.

This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia "Tosto che l'alba". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this piece taken from these three sources, see the related title under "performance edition".

Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87 “Codex Squarcialupi”, no. 40 fol 25v-26r
Bibliothèque Nationale [F-PN], MS fonds italien 568 “Pit”, no. 40 fol. 25v-26r
British Library [GB-Lbl], Add. MS 29987, no 31 fol. 25r

For a recording and video of the score see
https://www.youtube.com/watch?v=ok4VOFvLE2Y

A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, "Salve radix," written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary.

For a video with recording accompanying the modern transcription with side-by-side animated original notated music see the link below:
https://www.youtube.com/watch?v=R9wl1XqV6Nk

The year 2014 saw the fortieth anniversary of a groundbreaking – and by now classic – study on medieval counterpoint: Klaus-Jürgen Sachs’s Der Contrapunctus im 14. und 15. Jahrhundert. In his study, Sachs set out to verify thoroughly a hypothesis by Hugo Riemann: that an early fourteenth-century terminological shift from “discantus” to “contrapunctus” should be considered a symptom of a deeper transformation in counterpoint pedagogy, namely, the transformation into “regulated” and “proper” counterpoint. This transformation in the history of theory, in turn, should be considered a symptom of changes in compositional practice that Riemann and Sachs summarized under the term “ars nova”. There is much to suggest that this bundle of at least three hypotheses needs to be reconsidered and disentangled in favor of alternative pictures: to consider elements concerning conceptual history, history of theory, and histories of compositional practices separately opens new perspectives on the simultaneity of the alleged non-simultaneous.

This is a performance edition of Gherardello da Firenze's (c. 1350) caccia, "Tosto che l'alba." This edition is a combination of the three available sources for this piece, selecting those options which are optimal when differences arise between the manuscripts. If one desires to see the other available options in each source, please refer to the related title under "comparative manuscript edition". The complete text of the piece is provided with a translation at the end of the score.

For a recording and video of the score see
https://www.youtube.com/watch?v=ok4VOFvLE2Y

https://theleupoldfoundation.org/product/remes-derek-the-art-of-preluding-deconstructing-and-reconstructing-the-preludes-in-j-s-bachs-well-tempered-clavier-volume-i-ii/

According to J. S. Bach, the fundamental principles of composition are derived from thoroughbass and the keyboard—The Art of Preluding: Deconstructing and Reconstructing the Preludes in J. S. Bach’s Well-Tempered Clavier I & II demonstrates how. Each prelude is furnished with a reductive analysis of its thoroughbass background and voice-leading patterns. Following this deconstruction phase, a simplified figured bassline is presented to aid the reader in reconstructing an original work using Bach’s harmonic framework. To facilitate comparison, all preludes are transposed either to C major (Vol. 1) or A minor (Vol. 2). An extensive preface, which is divided between Vols. 1 and 2, provides the reader with detailed guidance and historical context. Finally, various appendices present C. P. E. Bach’s rule-of-the octave harmonizations and modulations, which played a central role in his understanding of improvisation. This historically oriented, pedagogical, and practical work will thus be of value particularly to teachers, students, and performers interested in eighteenth-century music.

(Full article now available in Theoria, Volume 28)

Around 1763, shortly after he began his decades-long tenure as Kapellmeister to the Esterházy princes, Haydn experimented with learned counterpoint in the finales of four early symphonies: nos. 3, 13, 14, and 40. These movements display the pedagogical legacy of Johann Joseph Fux, which Haydn encountered in his youth as a chorister in Vienna, and, later, through studying Fux’s counterpoint primer, Gradus ad Parnassum. This study will explore how Fuxian principles--particularly combining multiple subjects with distinct rhythmic profiles--plays out differently in each movement. (No. 3 has a two-part invention opening, no. 13 is a fusion of invention and sonata, no. 14 is a double fugue in sonata form, and no. 40 is a triple fugue.)

In addition to providing useful antecedents to the fugal finales of Haydn’s Sun Quartets, these works paved the way for two Sturm und Drang symphonic finales that also feature learned contrapuntal display. The finale of Symphony no. 44 of ca. 1771 (Trauer), a monothematic sonata movement whose opening theme acquires multiple countersubjects as it develops, and Symphony no. 70 of ca. 1779, whose finale features an intricate triple fugue. After a brief summary of Fux’s principles of counterpoint, including imitation and fugue, we will examine each of these five movements in depth, observing how Haydn distilled Fux’s principles and put them into practice in this intriguing and stylistically unusual group of symphonic finales.

As observers within the field of music theory will have noticed, our understanding of the subjects of counterpoint and harmony are in a period of slow but steady change. Recent research into the history of contrapuntal and compositional instruction has shown that improvisation and practical instruction were far more important up to the eighteenth century than what the nineteenth-and twentieth-century textbook tradition let us to believe. 1 One of the most recent changes in our understanding of these subjects concerns the way in which practical keyboard skills and improvisation were integrated into compositional instruction (especially in the Italian counterpoint tradition) and how figured bass exercises (called bassi numerati or partimenti in Italy) were regarded as the first necessary steps in this training. In Italy, composition was taught not primarily through textbooks, but rather by example. The most famous traditions-those in Bologna and Naples-began with a practical methodology of learning composition at the keyboard, followed by extensive written studies. The aforementioned change in our understanding has generated an entire new field of research into partimenti, solfeggi, and counterpoint notebooks over the last two decades, which in its turn already has started to affect our modern music theory curricula. In counterpoint, for example, an increasing number of recent textbooks integrate improvisational skills today. This development has driven the subject of Renaissance and Baroque counterpoint towards a more historically informed type of practical counterpoint, which was in fact the term that was used in Italy: contrappunto pratico. 2 Where previous counterpoint treatises by authors such as Fux (1725), Bellermann (1862), Dubois (1901), or Jeppesen (1930) essentially proposed an elementary written approach leading us up to the stairs of Parnassus, more recent textbooks-such as those by Peter Schubert (2002) or Barnabé Janin (2012)-encourage students instead to realize their counterpoint exercises through a more practically oriented "learning-by-doing" approach via singing or with the hands on the keyboard. Likewise, in the field of harmony, keyboard playing is increasingly seen as an invaluable step towards mastering such skills that were previously acquired primarily through textbook rules and written exercises. 3 This growing momentum of integrating improvisational skills into counterpoint and harmony and the changes it has generated in the teaching and learning of these subjects also profoundly affects the training of aural skills today. In this article I will address the implications of these developments for the subject of aural skills in higher music education. I will do this by giving an overview of some basic historical methods, particularly those used in eighteenth-century Neapolitan conservatories. In doing so, I will show how this pedagogy can contribute to the integration of counterpoint, harmony, variation, and improvisation in aural skills instruction today.

INVESTIGACIÓN REALIZADA ENTRE 1972-74 CON EL ING. JORGE GIL MENDIETA (IIMAS-UNAM), SOBRE LA RELACIÓN ENTRE LA ESCALA DIATÓNICA Y LA ESTRUCTURA DE GRUPO DEL CUBO (IIES-UNAM 1984). COMPRENDE UNA INTRODUCCIÓN A LA TEORÍA DE GRUPOS, A LAS RELACIONES ENTRE GRUPO Y ESCALA, AL ESTUDIO DE RELACIONES MELÓDICAS, ARMÓNICAS Y CONTRAPUNTÍSTICAS, ASÍ COMO APLICACIONES AL ANÁLISIS MUSICAL (BACH Y BEETHOVEN).

For an audio-video animation of the manuscript with the modern transcription see the link below:
https://www.youtube.com/watch?v=dO56v7qltNo

An edition of the anonymous labyrinthine ballade on three canons, "En la maison Dedalus" (In the House of Dedalus) from the Berkeley Manuscript.

This edition includes a modern transcription of the music, the original manuscript excerpted, poetic and literal translations of the text, reconstruction of the 11-tier labyrinth upon which the music is overlain, and pedagogical materials/explanations of the musical and poetic medieval Ballade forme-fixe.

In his autobiographical sketch Joseph Haydn claims to have learned the ‘true fundamentals of composition’ from Nicola Porpora. Porpora (1686–1768) was a student of Gaetano Greco at the Conservatorio dei Poveri in Naples and later himself became a maestro at the Conservatorio di San Onofrio, where Francesco Durante also taught. That Haydn’s teacher Porpora came from the centre of the partimento tradition, which has attracted increased scrutiny by music theorists in recent years, justifies examining Haydn’s relationship with this long-standing pedagogical method and compositional practice. In this essay I analyse the sources that shed light on Porpora’s relationship to the partimento tradition and on Haydn’s relationship to Porpora. Focusing on partimento counterpoint, I examine several of Haydn’s fugues in contrasting genres in order to illustrate how the principles of thoroughbass and partimento help to explain particular structural procedures in Haydn’s music, as well as the compositional processes that produced them.

This study situates theories of movable counterpoint by the Russian composer and theorist Sergei Ivanovich Taneyev (1856–1915) against current scholarship on Renaissance music. Analytical approaches that draw upon Taneyev’s theories can lead to rich insights into the inner workings of Renaissance counterpoint, most especially processes that have hitherto escaped attention. Through reference to specific repertoire examples discussed in recent scholarship, the present study demonstrates how Taneyev’s methodology and terminology can provide a basis for systematic identification of key procedures prevalent in Renaissance music. This study also considers how knowledge of Taneyev’s work can inform an approach that points to new possibilities for analyzing contrapuntal processes that operate across fifteenth- and sixteenth-century music.

This paper evolved from a Graduate Seminar directed by Margaret Bent at Princeton University during the Fall of 1988, thus owing something to both her scholarship and her provocative insights into the thorny subject being covered. It is presented here with only minor cuts, corrections and clarifications, retaining essentially the same contents, form, and faults, of the 1989 version; a minimal bibliographical update is given at the end. The title is to be heard as if ‘Defying Analysis’. In fact, Dufay is here both the subject and the pretext for a redefinition of analytical concepts used to describe fourteenth- and fifteenth-century polyphony. It upholds two-voice counterpoint as the main theoretical reference, but it is paradoxically shown that in one particular context, Dufay’s use of perfect triads already implies the concept of chord.

A transcription of a lesser known masterpiece from the early 16th century. The only known work by composer Johannes Mittner, this Mass, and particularly its Sanctus movement, demonstrates one of the largest mensuration canons from the Renaissance - five voices from one.

For a audio-visual animation with recording see the link here:
https://www.youtube.com/watch?v=FCe7WGoJVLI

Johannes Mittner: Missa Hercules Dux Ferrarae, Sanctus
Sanctus a4,
Pleni sunt coeli a2,
Osanna I a5 mensuration canon,
Benedictus a4
Osanna II a3

Schenker's theory has its roots in the theoretical traditions of the eighteenth century , specifically in species counterpoint and in the practice of thoroughbass: for him, these disciplines formed the basis of the " true theory, as opposed to the " false " theory that was based on nineteenth-century harmony and form. Species counterpoint and thoroughbass did indeed constitute an indispensable theoretical foundation for Schenker's concept of musical structure, but they were not sufficient to explain the nature of tonal music: two other principles were required. The first was Schenker's own theory of harmonic structural degree (Stufen) progression. The second principle was diminution, a technique used in the Renaissance and Baroque periods, consisting of substituting for a melody in long notes a passage of notes of shorter values: in itself, diminution implies a generative process from simple to complex figurations. All four of these elements contributed to the final stage of Schenker's theory as formulated in Der freie Satz: counterpoint and harmony are synthesized in the horizontal (Urli-nie) and vertical (Baßbrechung) components of the Ursatz: the principle of diminution is an essential component of the idea of structural levels, and thoroughbass supplies the basis for many techniques of prolongation. For two of these four constituents of Schenker's mature theory—species counterpoint and general bass—he referred to a specific teaching tradition: Fux's Gradus ad Parnassum and its legacy on one hand, and the thoroughbass treatises, exemplified in C. P. E. Bach's Versuch, on the other

A critical transcription of the three-voice Caça (“chace” or canon) known as “O Virgo Splendens” (“O splendorous virgin”), the first in the small collection of music from the Llibre Vermell. It is perhaps the oddest of the set, being the most stylistically remote. It is the only piece not notated or composed in the contemporary style of the Ars Nova. Rather, its notation and style harken to previous centuries, possibly as recent as the discant style of the Parisian school of Notre Dame or of Santiago de Compostela from the 12th and 13th century, or as old as the free organum style of the 10th and 11th centuries such as that found in the Ad organum faciendum. Given its apparent lack of rhythmic mode of any kind, its relation to the 10th and 11th centuries seem more likely.

For a video of the score with a recorded performance visit
https://www.youtube.com/watch?v=5BkzBK5-oDw

In diesem kompakten Band über die Kompositionstechnik des 15. und 16. Jahrhunderts – als »Prima prattica«, »Stile antico« oder »Stylus gravis« bezeichnet – wird erklärt, wie Josquin, di Lasso, Palestrina u.a. komponiert haben und was die zeitgenössischen Musiktheoretiker dazu zu sagen hatten. Dazu zeigt Kontrapunkt I satztechnische Phänomene auf und veranschaulicht sie nicht nur mit zahlreichen berühmten Beispielen aus der Musikgeschichte, sondern auch mit hier erstmals neu gesetzten Exempeln aus historischen Lehrbüchern.

Jakob Adlung’s recently rediscovered manuscript treatise, ‘Anweisung zum Fantasiren’ (‘Instruction in improvisation’, c.1725–7), proves definitively that some 18th-century musicians understood improvisation modularly in terms of stock voice-leading patterns, or schemas. The manuscript is a compendium containing 28 typical voice-leading patterns that are to be memorized, varied and combined in myriad ways. Adlung’s treatise is thus of particular value, not only because of its numerous musical examples and extensive textual commentary, but because it reveals some of the musical and social expectations of the average central German church organist in the early 18th century. This article offers an introduction to the treatise in the context of Adlung’s biography, with an online appendix containing a critical edition of the treatise and an English translation.

A modern edition of Nathaniel Giles (1558 - 1633/34) mensural bicinia, "Miserere," on 38 rhythmic proportions from the "Baldwin Commonplace Book" (1594). For a recording and animated score-video see this link: https://www.youtube.com/watch?v=zRMx9koROOI

During the second half of the eighteenth century, the city of Naples had three music conservatories: the Conservatorio di Santa Maria di Onofrio, the Conservatorio di Santa Maria di Loreto and the Conservatorio di Santa Maria della Pietà de’ Turchini. The students at these institutions received highly professional training in singing, instrumental playing, and composition. This study reveals new evidence that partimenti were used not only as exercises in keyboard playing, but also as exercises in written counterpoint; partimenti were used either as bass lines over which students wrote one or several contrapuntal parts, or as notational devices that facilitated the sketching of fugues. Musicologists have previously encountered considerable difficulties in identifying and describing differences between the schools of Leonardo Leo and Francesco Durante, represented by the terms Leisti and Durantisti. This study shows that these schools are primarily defined through different methods of teaching counterpoint. Contemporary counterpoint notebooks show that the maestri at Sant’Onofrio and Santa Maria di Loreto followed Durante’s teaching methods, while the maestri at La Pietà followed Leo’s teaching methods. The school of Durante emphasized the writing of melodic lines over a hexachordal scale or a partimento bass, using different methods, such as the moti del basso and prescribed conditions. The school of Leo favored the use of invertible counterpoint, emphasizing skills in sketching and writing choral fugues from subjects and countersubjects. For the first time, the partimento and solfeggio repertoire used at the Neapolitan conservatories has been systematically investigated through the creation of two research tools, the databases UUPart: The Uppsala Partimento Database and UUSolf: The Uppsala Solfeggio Database, published online on two companion websites.

https://acta.mamutweb.com/Shop/Product/0025-Counterpoint-and-Partimento/diva2:795801