Music Theory Iii Species Counterpoint and Diatonic

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MUSIC THEORY III SPECIES COUNTERPOINT AND DIATONIC HARMONY SYLLABUS M. Henry CHAPTER 1: INTRODUCTION TO SPECIES COUNTERPOINT 1. Melodic Composition: Principles for Writing a Cantus Firmus 2. Two-Voiced Composition I: First Species (1:1) Counterpoint 3. Two-Voiced Composition II: Second Species (2:1) Counterpoint 4. Two-Voiced Composition III: Third Species (4:1) Counterpoint 5. Two-Voiced Composition IV: Fourth Species Counterpoint (The Suspension) 6. Two Voiced Composition V: Fifth Species Counterpoint (Free Counterpoint) FRIENDLY LITTLE CHECK-UP TEST NO. 1 CHAPTER 2: THE BASIC PHRASE MODEL AND CADENCES IN THE MAJOR AND MINOR MODES 7. Building a Vocabulary for the Phrase I: Triads and Inversions in the Major Mode; Introduction to Figured Bass 8. The Basic Phrase Model and Cadences in the Major Mode 9. Building a Vocabulary for the Phrase II: Triads and Inversions in the Minor Mode 10. The Basic Phrase Model and Cadences in the Minor Mode FRIENDLY LITTLE CHECK-UP TEST NO. 2 CHAPTER 3: EXPANSION OF THE BASIC PHRASE MODEL I: INTRODUCTION TO THE CADENTIAL PREDOMINANT AND SOME BASIC EXPANSIONS OF TONIC 11. Expansion of the Basic Phrase Model: The Cadential Predominant 12. Basic Expansions of Tonic using Root Position Triads and Introduction to the Dominant Seventh Chord 13. Introduction to the Principles of Four-Part Writing: Realizing a Figured Bass CHAPTER 4: EXPANSION OF THE BASIC PHRASE MODEL II: SEVENTH CHORDS AND THE CADENTIAL SIX FOUR 14. Building a Vocabulary for the Phrase: Seventh Chords and their Inversions 15. Expansion of the Cadential Dominant: The Accented Cadential Six Four 16. Expansion of the Cadential Predominant: Predominant Seventh Chords FRIENDLY LITTLE CHECK-UP TEST NO. 3 .

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Counterpoint MUS – Spring 2019
Counterpoint MUS – Spring 2019 Dr. Julia Bozone Monday and Wednesday at 11:00 - 11:50 in Rm. 214 Email: [email protected] Office Hours MWF 8:00-9:00, and By Appointment during 11-3 MWF Concurrent Enrollment: Required Materials: Counterpoint, Kent Kennan, 1999. A Practical Approach to 16th Century Counterpoint, Robert Gauldin A Practical Approach to 18th Century Counterpoint, Robert Gauldin Course Description: Theory II is the second in a four-semester sequence which examines the notational, harmonic, and compositional practices of the Western art- music tradition. This course emphasizes the development of analytical and compositional skills, with particular focus on the music of the Common Practice Era (CPE). Student Learning Outcomes: Upon successful completion of this course, students will be able to accomplish the following in each category: Melody Identify proper use of melodic contrapuntal lines Identify melodic properties: apex, sequences often found in melodic lines Harmony Construct and identify properly resolved interval relationships between voices Construct and identify chord progression for contrapuntal voicing. Demonstrate, through composition and analysis, an understanding of diatonic sequences Demonstrate, through composition and analysis, an understanding of common- practice functional harmony Rhythm Demonstrate, through composition and analysis, an understanding of rhythmic notation and of all common meters Composition Compose original works utilizing two and three voice counterpoint Course Requirements: There will be frequent homework assignments utilizing both analytical and compositional skills. All work should be done with either pencil or computer notation software. Homework is to be turned in during class on the day on which it is due. Late assignments will not be accepted for credit unless by previous arrangement with the instructor.
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Mathematics and Computers in Biology, Business and Acoustics THE SCHENKERIAN ANALYSIS IN THE MODERN CONTEXT OF THE MUSICAL ANALYSIS ANCA PREDA, PETRUTA-MARIA COROIU Faculty of Music Transilvania University of Brasov 9 Eroilor Blvd ROMANIA [email protected], [email protected] Abstract: - Music analysis represents the most useful way of exploration and innovation of musical interpretations. Performers who use music analysis efficiently will find it a valuable method for finding the kind of musical richness they desire in their interpretations. The use of Schenkerian analysis in performance offers a rational basis and an unique way of interpreting music in performance. Key-Words: - Schenkerian analysis, structural hearing, prolongation, progression,modernity. 1 Introduction Even in a simple piece of piano music, the ear Musical analysis is a musicological approach in hears a vast number of notes, many of them played order to determine the structural components of a simultaneously. The situation is similar to that found musical text, the technical development of the in language. Although music is quite different to discourse, the morphological descriptions and the spoken language, most listeners will still group the understanding of the meaning of the work. Analysis different sounds they hear into motifs, phrases and has complete autonomy in the context of the even longer sections. musicological disciplines as the music philosophy, Schenker was not afraid to criticize what he saw the musical aesthetics, the compositional technique, as a general lack of theoretical and practical the music history and the musical criticism. understanding amongst musicians. As a dedicated performer, composer, teacher and editor of music himself, he believed that the professional practice of 2 Problem Formulation all these activities suffered from serious misunderstandings of how tonal music works.
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