〖Principles of Counterpoint by Alan Belkin〗（对位原理）

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〖Principles of Counterpoint by Alan Belkin〗
Introduction
　　The teaching of counterpoint has a long and illustrious history, but its pedagogy is all too often abstracted from musical reality. Perhaps more than any other musical discipline, counterpoint has bred ingrown academic traditions whose relevance to musical practice often seems painfully limited. For example, I recently taught fugue to a good graduate of a major European conservatory, and discovered that his experience of counterpoint was limited to three years of exercises in 4/4 time with canti in whole notes. While this sort of work may be appropriate for a beginner, it hardly constitutes a complete preparation for most of the real life applications of counterpoint - or even, for that matter, for composing a musically convincing fugue.
　　The main problem with scholastic approaches is that they generally substitute rigid rules for flexible general principles, and thus fail to provide guidance in enough varied musical situations to be really useful in practice. At best, of course, an inspiring teacher can fill in the gaps and make the subject seem relevant. But at worst, the student is constrained by a hodge-podge of inconsistent rules, and wastes a great deal of time struggling to avoid situations that are musically unimportant. A common fault is to confuse practical rules - say, about the range of a human voice - with pedagogical stages. The former are general principles, which cannot be avoided if the music is to be performable at all; the latter by contrast are by nature temporary, rules of thumb to avoid common elementary problems, or to force the student to concentrate on a particular problem and to avoid others that might be confusing. If such pedagogical constraints are presented as global rules, they lead quickly to nonsense.
　　Here our aim will be to explain contrapuntal issues so as to provide the most general applications possible. We will approach counterpoint as a form of training in musical composition instead of as a discipline in itself. We will try to define general principles of counterpoint not rigidly, but in ways that are transferable to real musical situations, and which are not limited to the style of one period.
　　This is not a textbook: We will not repeat in detail information easily available elsewhere. We will also not propose a detailed method, complete with exercises, although the specifics of such a method are easily derived from our approach, and indeed have been tested by me in the classroom for years.
　　In short, this book is more about the "why" of counterpoint than the "what".
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〖Principles of Counterpoint by Alan Belkin〗