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Learning Outcomes

TopLearning objectives
The module introduces how counterpoint is employed in various eras, genres and styles. The key areas are as follows: The Birth of Polyphony, Medieval, High Renaissance, Common Practice, and 20th Century styles.

This module aims to expose students to a wide range of contrapuntal music so that they become more sensitive to the creative process and performance issues of polyphonic music.

By the end of this module, students should be able to: 
• aurally and visually identify the era of the contrapuntal work; 
• compose in different styles of counterpoint at an elementary level; 
• analyze contrapuntal works from different eras, using vocabulary specific to contrapuntal writing.

The creative component of this module is primarily done through analysis, composition and performance. Finally, the module seeks to endorse collaborative learning since an ability to work positively in collaborative situations is necessary for professional work as a musician.

Prerequisites

TopMUT1101: Introduction to Musical Concepts and Materials

Schedule

TopMUT2202 Schedule (updated)

Week 1                   Introduction/Overview of styles
(Examples from Harold Owen: Landini, Lasso, Bach, Franck, Bartok)

Week 2-3              Medieval Counterpoint
(Topics: Chant, Church modes, Rhythmic modes, Gamut, Guido’s Hand, Vox Organalis, Contrapuntal Motion, Notre-Dame School, Florid Organum, Discant Clausula, Ars Nova, Ars Subtilior, Iso-rhythm)

Works covered: Leonin Viderunt Omnes
Perotin Viderunt Omnes
Machaut Ma fin Est ma Commencement
De Vitry Garrit Gallus/In Nova fert/Neuma

Assignment 1: Organum (Florid Organum and Discant Clausula)

Weeks 4-6            Renaissance Counterpoint
(Topics: Modes, Musica Ficta, Rhythm, Texture, Phrase, Imitation, Consonances/Dissonances, Harmony, Cadential idioms, Suspensions, Ornamentation, Text-setting, Mensuration Canons)

Works covered: Lasso Beatus Homo
Lasso Oculus Non Vidit
Ockeghem Prolation Canon (excerpt)
Palestrina Kyrie Eleison
(Text setting excerpts from Missa Breve and Missa Papae Marcelli)

Other options, for different semesters:
Palestrina Benedictus
Victoria Benedictus
Josquin Ave Maria ... Virgo serena

Assignment 2: Two-voice Motet (12-16 bars)
2 options (see handout)

Weeks 7-10         Tonal Counterpoint
(Topics: Figured Bass, Cadential idioms, Consonances/Dissonances, Imitation, Invertible Counterpoint, Counterpoint in 3 voices, Subject, Tonal and Real Answers, FUGUE)

Works covered: Bach Musical Offering (selected canons)
Bach WTC excerpts (C major and C minor fugues)
Mozart Overture from The Magic Flute (m. 16, fugato)
Beethoven Symphony No. 7, II (m. 183, fugato)
Brahms Piano Concerto No. 1, III (m. 238, fugato)

Assignment 3: Fugue Exposition (a 3)
            - for three instruments/voices or keyboard alone

Weeks 11-13      20^th Century Approaches to Counterpoint
                                    (Topics: Impressionism, 2^nd Viennese School, Set Theory, Post-tonal Styles)

Works List:           Debussy Voiles
                            Ravel Trio, II. Pantoum
Webern String Quartet op. 28
                                    Schoenberg Pierrot Lunaire (excerpt)
                                    Berg Seven Early Songs (excerpts)
                                    Ives Three Places in New England (excerpt)
                                    Stravinsky L’histoire du Soldat (excerpt)
Bartok Music for Strings and Percussion, I

Assignment 4: Short 20^th Century/Modern Composition (1-2 pages)

Final Exam: Portfolio Submission, and Performance of 1 work.

Assessment

TopTutorials/Seminars (Assignments and Participation): 20%
Group Activities: 20%
Projects: 25%
Final Exam (Performance and Portfolio): 35%

Workload

Top1-2-0-3-4

Workload Components : A-B-C-D-E
A: no. of lecture hours per week
B: no. of tutorial hours per week
C: no. of lab hours per week
D: no. of hours for projects, assignments, fieldwork etc per week
E: no. of hours for preparatory work by a student per week