MUSIC THEORY VII: COUNTERPOINT
Instructors and Contact Information
Faculty supervisor: Margaret Henry
Office: Messinger 214, mahenry@ esm.rochester.edu
Intern: Michael Callahan
Office Hours and Extra Help Sessions
I am happy to meet with students outside of class at any point during the school year, either for extra help at or to pursue additional course-related interests. To set up an appointment with me, please email me or speak with me in class.
Required Course Text (fall semester)
Fux, Johann Joseph (translated by Alfred Mann), The Study of Counterpoint, Norton Press. [about $16 new]
Required Course Text (spring semester)
Gauldin, Robert. A Practical Approach to Eighteenth-Century Counterpoint. Waveland Press. [about $32 new]
Recommended Text (fall semester)
Schubert, Peter. Modal Counterpoint, Renaissance Style, Oxford Press. [$57 new, but available used at Amazon for as little as $36] This book is much more deliberately pedagogical than the Fux and a wonderful resource for both repertoire study and progressive exercises designed for mastery of contrapuntal skills.
Optional Supplementary Text (fall semester):
Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint, Waveland Press. [about $32 new]
Course Description
This course is an in-depth study of counterpoint, and is divided methodologically and chronologically into three parts: The first semester will deal with strict counterpoint (i.e. species counterpoint) in two and three voices for about 8 weeks, and then with its application to modal counterpoint (modeling compositions of the High Renaissance, 1540-1570) for the remaining 8 weeks. The second semester will focus entirely on tonal counterpoint (modeling late Baroque compositions, 1700-1750). This is a course in writing music, so students will do a number of compositions throughout the year, in addition to weekly contrapuntal exercises. Class sessions will consist of discussion of students’ written work, group composition at the board, analysis of selected pieces, and presentation of new topics. All students must have completed AP Theory 2A and 2B prior to enrolling in this course. Students who successfully complete this course will have accomplished the following:
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Learned strict counterpoint in two and three voices (and perhaps some in four voices), in first through fifth species as outlined by Johann Fux in 1724.
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Modeled various aspects of Renaissance counterpoint and text setting through compositions in various textures and styles.
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Acquired fluency with idioms of tonal counterpoint via contrapuntal exercises and problem-solving assignments.
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Composed idiomatically in the Baroque style by writing model pieces such as chorales, chorale preludes, two-part inventions, and fugues,.
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Mastered thoroughbass as a way of conceptualizing the foundations of tonal counterpoint.
Course Policies
This is an intense and fast-moving course that relies on students’ absorption of weekly readings as well as serious daily effort in composition. Written assignments for this course cannot be completed successfully in a single sitting; they demand several attempts, revision, refinement, and the fresh ears and mind that come from several sessions throughout the week. Students should set aside some time every day of the week for this course.
Attendance Policies
Since the class meets just once a week, attendance at every meeting is crucial. If students absolutely must miss class, they should contact me in advance to set up a time for us to go over the weekly assignment and cover the new material.
Grading
Assessment will be based on students’ weekly written assignments, their level of preparation for discussions of the assigned readings, and the quality of composition projects. The grade will be weighted as follows:
- Weekly Written Assignments: 50%
- Participation in Class Discussions and Workshops: 20%
- Composition Projects: 30%
Last updated: September 9 , 2008