Editing Counterpoint (section)

==Linear counterpoint==
{{Example needed|date=April 2018}}

'''Linear counterpoint''' is "a purely horizontal technique in which the integrity of the individual melodic lines is not sacrificed to harmonic considerations. "Its distinctive feature is rather the concept of melody, which served as the starting-point for the adherents of the 'new objectivity' when they set up linear counterpoint as an anti-type to the Romantic harmony."{{sfn|Sachs|Dahlhaus|2001}} The voice parts move freely, irrespective of the effects their combined motions may create."<ref name="Katz">Katz, Adele (1946). ''Challenge to Musical Tradition: A New Concept of Tonality'' (New York: A. A. Knopf), p. 340. Reprinted New York: Da Capo Press, 1972; reprinted n.p.: Katz Press, 2007, {{ISBN|1-4067-5761-6}}.</ref> In other words, either "the domination of the horizontal (linear) aspects over the vertical"<ref name="Ulrich">Ulrich, Homer (1962). ''Music: a Design for Listening'', second edition (New York: Harcourt, Brace & World), p. 438.</ref> is featured or the "harmonic control of lines is rejected."<ref name="Cunningham"/>

Associated with [[neoclassicism (music)|neoclassicism]],<ref name="Ulrich"/> the technique was first used in [[Igor Stravinsky]]'s ''[[Octet (Stravinsky)|Octet]]'' (1923),<ref name="Katz"/> inspired by [[J. S. Bach]] and [[Giovanni Pierluigi da Palestrina|Giovanni Palestrina]]. However, according to [[Knud Jeppesen]]: "Bach's and Palestrina's points of departure are antipodal. Palestrina starts out from lines and arrives at chords; Bach's music grows out of an ideally harmonic background, against which the voices develop with a bold independence that is often breath-taking."<ref name="Katz"/>

According to Cunningham, linear harmony is "a frequent approach in the 20th century...[in which lines] are combined with almost careless abandon in the hopes that new 'chords' and 'progressions'...will result." It is possible with "any kind of line, diatonic or [[Twelve-tone technique|duodecuple]]".<ref name="Cunningham">Cunningham, Michael (2007). ''Technique for Composers'', p. 144. {{ISBN|1-4259-9618-3}}.</ref>