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I have a background 1 year of harmony study and I'm now taking a non-western modal approach to music (trough Indian Classical Music, which is mainly monophonic and have no concept of harmony). I have some ideas to compose melodies in two or three voices (wich, as I said, doesn't exist in ICM) and I want to study counterpoint for exploring that further without entering again in the harmony terrain (I've discarded it for now, chords and harmonic functions don't appeal much to me right now).

As someone pointed me out in a answer to another question:

You are on the right track in thinking that "sixteenth century counterpoint melody or modal based (as this answer suggests) and eighteenth century counterpoint harmony based."

Where do I start to study counterpoint from a melodic (ie, melodies interaction) point of view without harmony?

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I suggest looking at this answer to a previous question: – Reina Abolofia Jun 1 '12 at 5:28
In additions to @Reina's awesome answer, you can take a look at this (very general) answer to How is counterpoint different from harmony? – jadarnel27 Jun 1 '12 at 12:04

In my Form and Analysis and Counterpoint classes at UW-Madison, we used the Aldwell-Schachter book, which has very thorough and IMO excellent instruction in all the species of counterpoint, working off a cantus, and other techniques for writing horizontally i.e., as interactions of melodies instead of just plonking chords down. Not that there's anything WRONG with plonking chords down, of course...

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