Counterpoint books:
I can recommend you "Kontrapunkt" (counterpoint) of a german writer/composer called Diether de la Motte.
As far as I know it has been translated into many languages as it was a big success due to it's innovation in teaching music theory!
It's for experts that are interested in writting original style-copies. I will give you a little summery of it's content:
It starts with the "beginning" of counterpoint thinking and goes chronological through history. The gothic periode, there's the so called "Notre Dame era" and the composer Perotin (and also some others) who have started to write polyphonic music, which means that every voice has the same importance. Before (in medieval music) there was the main melody that was moved in parallel fifths. Or later the famous organum compositions with a superior melody and below accompanying sustained notes.
After the Note Dame epoche happened a lote in the early renaissance periode. Composers like Dufay, Marchaut, Ockeghem, etc.
De la Motte also speaks about those two epoches a little and it is very interesting how it changed and he also explains how music was notated at these times (rhythmically, etc...)
Then the most important chapter in the book is the renaissance composer Josquin Desprez. As he has revolutionized counterpoint writting that was a "standard" for later masters like Palestrina or even Bach!
The Josquin chapter tells everything about cointerpoint rules how and also about how music has been written at this time (notation, rhythmical, possible harmonies and keys, etc.) with the aim to learn how to write a "perfect" style copy with all it's typical and stereotypical aspects.
After Josquin comes a short chapter about Palestrina, it's more about what little has changed from Josquin to Palestrina, for example that Palestrina expands the harmonies (for example new harmonies are possible like E major, or harmonies with more sharps) and for Palestrina the typical "multi-choral" writting. 5 or 6 voices mininum, 2 choirs, etc... instead Josquin makes a lot of use of ony two voices! And that's a fantastic technique how to start. If you can write perfect two voices then the expansion to three or four voices is not a big deal at all.
After Palestrina comes a Bach chapter that shows the difference of the meaning of "counterpoint". When "counterpoint" in the renaissance was more on the linear, melodic part and chords and harmonies where not imporant or happend just by "chance" and the tonality in general was "modal", in baroque (Bach's) counterpoint the harmony has a very imporant role. Often it's called "harmonic counterpoint". You can also hear the difference if you just compare a piece of Josquin and a Bach Fuga, what's different? The strict rules of Josquin/Palestrina are not so strict at all anymore but other things become more important (modulations, sequences, and many more...)
Then there are a couple of other interesting chapters, Haydn/Beethoven and their "motivic composing", Schumann/Brahms and their "inner voices", etc. Wagners "network-technique" how it seems that it's a 11-part composition, but the truth is that they are only 2 or 3 parts transfered on 11 (or more) instruments that switch between the voices (for example the viola takes 2, 3 notes together with the clarinet and then goes for 3, 4 notes with the horn, but rhythmically always a little different and shifted, etc...) it looks very complex and gives a great counterpunctual texture.
And then there's a chapter about counterpoint in music of the 20th century (Ligeti, etc.).
It's really a fantastic book with lots of ideas for practicing. For me the methode of De la Motte's books (also other ones like "Harmonielehre") worked very well and makes really sense! His philosophy is (he writes that at the beginnig of the book) that you don't learn only rules and "dry, boring exercises", you start "MAKING MUSIC" from the first page, the first example and exercise on. It makes really fun! I'm sure it exists also in english.
De la motte is a real "star" of music theory books here in Germany/Austria (he was teaching in Hamburg and Vienna). He still lives but is very old now. He was the teacher of my theory/counterpoint teacher so that's why I'm a little more informed about those books :-)
Have fun!
All the best,
Andie