Editing Counterpoint (section)

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

'''Dissonant counterpoint''' was originally theorized by [[Charles Seeger]] as "at first purely a school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint must be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved" through a skip, not step. He wrote that "the effect of this discipline" was "one of purification". Other [[aspects of music|aspects of composition]], such as rhythm, could be "dissonated" by applying the same principle.<ref>[[Charles Seeger]], "On Dissonant Counterpoint," ''Modern Music'' 7, no. 4 (June–July 1930): 25–26.</ref>

Seeger was not the first to employ dissonant counterpoint, but was the first to theorize and promote it. Other composers who have used dissonant counterpoint, if not in the exact manner prescribed by Charles Seeger, include [[Johanna Beyer]], [[John Cage]], [[Ruth Crawford Seeger|Ruth Crawford-Seeger]], [[Vivian Fine]], [[Carl Ruggles]], [[Henry Cowell]], [[Carlos Chávez]], [[John J. Becker]], [[Henry Brant]], [[Lou Harrison]], [[Wallingford Riegger]], and [[Frank Wigglesworth]].<ref>Spilker, John D., [http://etd.lib.fsu.edu/theses/available/etd-04032010-120836/unrestricted/Spilker_J_Dissertation_2010.pdf ''"Substituting a New Order": Dissonant Counterpoint, Henry Cowell, and the network of ultra-modern composers''] {{webarchive|url=https://web.archive.org/web/20110815203847/http://etd.lib.fsu.edu/theses/available/etd-04032010-120836/unrestricted/Spilker_J_Dissertation_2010.pdf |date=2011-08-15 }}, Ph.D. dissertation, [[Florida State University College of Music]], 2010.</ref>