The classic introductory text focuses on the polyphonic vocal style perfected by Palestrina. Unlike many other texts, it maintains a careful balance between theoretical and practical problems, between historical and systematic methodology. The result is an exceptional useful resource, ideal for classroom use in teaching modal counterpoint. The first part of the book explores the beginning of contrapuntal theory from the ninth to the fourteenth century. This is followed by separate discussions of each succeeding century, the styles of Palestrina and Bach and ends with a section illuminating coverage of notation, the ecclesiastical modes, melody and harmony. The second part of the book contains an extended treatment of 'species' counterpoint in two, three and four parts and specific discussions of the cannon, the motet and the Mass.