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MUT2202
COUNTERPOINT THROUGH THE AGES
2018/2019, Semester 2
Yong Siew Toh Conservatory of Music (Yong Siew Toh Conservatory Of Music)
Modular Credits: 4
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Learning Outcomes
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Learning 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
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MUT1101: Introduction to Musical Concepts and Materials
Schedule
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MUT2202 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
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Tutorials/Seminars (Assignments and Participation): 20%
Group Activities: 20%
Projects: 25%
Final Exam (Performance and Portfolio): 35%
Workload
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1-2-0-3-4
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