This classic study remains one of the foremost works on the music of Palestrina, a rigorous and valuable analysis of the composer's handling of rhythm, line, and harmony. The heart of the book is a meticulous exploration of the treatment of dissonance in Palestrina's works, supplemented by what amounts to a full history of the evolving concept and treatment of dissonance before Palestrina, discussing the practice of composers such as Josquin Desprez, Gabrieli, Ockeghem, and Dunstable. This is an indispensable text for the student of counterpoint and among the most important works on this towering figure of sixteenth-century music.