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On Thu, Feb 14, 2013 at 10:39 AM, Dave Phillips wrote:
>  On 02/14/2013 10:31 AM, Paul Davis wrote:

quoted text
>

>

>

> On Thu, Feb 14, 2013 at 10:20 AM, Dave Phillips wrote:

>

>> Picturesque, but not historically accurate, I'm sure you know. More like,

>> where melody and melody collided. :)

>>

>

> if line 1 and line 2 do not intersect in a harmonious way, is it still

> counterpoint? would anyone call it that?

>

>

> Since "harmonious" is a loaded term - are we referring to a vertical

> sonority

>

i definitely meant the vertical sonority. it seems to me that two (or more)

melodic lines that have no harmonic (vertical sonority-sense) relationship

to each other do not form what people would call "counterpoint". and that

is independent of whatever definition of "harmony" you might prefer. this

is why i tend to think of it as the collision of the two disciplines, or

more poetically, the entanglement.
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On Thu, Feb 14, 2013 at 10:39 AM, Dave P=

hillips <dlphillips@woh.rr.com> wrote:
 =20

   =20

 =20
    On 02/14/2013 10:31 AM, Paul Davis

      wrote:
      On Thu, Feb 14, 2013 at 10:20 AM, Dave

        Phillips <dlphillips@woh.rr.com>

        wrote:
          Picturesque, but not

            historically accurate, I'm sure you know. More like, where

            melody and melody collided. :)
          if line 1 and line 2 do not intersect in a harmonious way, is

          it still counterpoint? would anyone call it that? 
    Since "harmonious" is a loaded term - are we referring to a v=

ertical

    sonorityi definitely meant the vertical son=

ority. it seems to me that two (or more) melodic lines that have no harmoni=

c (vertical sonority-sense) relationship to each other do not form what peo=

ple would call "counterpoint". and that is independent of whateve=

r definition of "harmony" you might prefer. this is why i tend to=

 think of it as the collision of the two disciplines, or more poetically, t=

he entanglement.
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