Composers Counterpoint
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AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
Music for a While’ (For Component 3: Appraising)
H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner. -
Harmony Simplified : Or, the Theory of the Tonal Functions of Chords
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILLIAMS SAGE MUSIC rn n ' Ver8i,y "**" MT 50.R55 i896 3 1924 022 305 357 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022305357 ATJGENER'S EDITION No. 9198 HARMONY SIMPLIFIED OR THE THEORY OF THE TONAL FUNCTIONS OF CHORDS. BV DR. HUGO RIEMANN, Professor of Musical Science at Leipzig University TRANSLATED FROM THE GERMAN. THIRD IMPRESSION AUGENER LTD. LONDON Printed in England by AUGENER Ltd., 287 Acton Lane, London, W. 4. ©e&tcatefc TO PROFESSOR EBENEZER PROUT. B.A., Professor of Music in the University of Dublin, etc. THE DISTINGUISHED PIONEER OF MUSICAL PROGRESS. THE AUTHOR —— $ — CONTENTS. Introduction page i. (Harmony—Melody —Tone relationship — Overtones — Undertones — Majoi chord and minor chord—The three functions—Modulation.) CHAPTER I. Writing Confined to Pure Principal Harmonies (Tonic and Dominants) page 10. § I. Overclangs and Underclangs. §2. Four-part writing—The writing of single chords. §3. Plain-fifth step (T—D and °T—° S)—The con- nection of chords—Consecutive octaves—Chords of six-four (-Z?Jand S\i)- §4. Contra-fifth step (T—S and "T—°D)—Complete (bi-lateral) cadences. § 5. The whole-tone step (S—D and °D—°S)—Consecu- + tive fifths tritone— Score. 6. turn —"J? —The § The of harmony ( T and + + + °T— D)—Contra-fifth change {°S—Z> ) and fifth-change (°S — S + and "D— -D)—Diminished and augmented part-progressions—False relation —Modulation. -
An Analysis of Tonal Conflict in Stravinsky's
Hieratic Harmonies: An Analysis of Tonal Conflict in Stravinsky’s Mass A thesis submitted by Joseph Michael Annicchiarico In partial fulfillment of the requirements for the degree of Master of Arts in Music Tufts University May 2016 Adviser: Frank Lehman Abstract Igor Stravinsky’s Mass is the penultimate work of his neoclassical phase, written between the years of 1944 and 1948, just before his landmark piece The Rake’s Progress. The Mass is a highly “conflicted” work, both culturally and musically. As World War II was racing towards its tumultuous end, Stravinsky—oddly, without commission—decided to write a Mass, which is peculiar for someone who converted to the Russian Orthodoxy many years earlier. Musically speaking, the work exhibits conflicts, predominantly in the dialectic between tonality and atonality. Like the war, Stravinsky himself was nearing a turning point—the end of his neoclassical style of composition—and he was already thinking ahead to his opera and beyond. This thesis offers an analysis based on the idea of musical conflict, highlighting the syntactical dialogues between two tonal idioms. My work focuses heavily in particular on the pitch-class set (4–23) [0257], and the role that it plays in both local and global parameters of the work, as well as its interactions with non-functional tonal elements. Each movement will be analyzed as its own unit, but some large-scale relations will be drawn as well. My analysis will bring in previous work from two crucial investigations of the work—by V. Kofi Agawu, and by the composer Juliana Trivers. The Mass has never been a widely discussed work in the oeuvre of such a popular composer, but my hope is that this thesis can help rectify this by bringing overdue analytical attention to crucial elements of Stravinsky’s language in the piece. -
Counterpoint: Strict and Free
....' 111 l« H:;v^,',:-;;-''.:,?. CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY r/ILLIAMS SAGE rn IVW,,,y "*"* MT 55.P97 i890 nt: s,rict and free Smm ™Ri i 3 1924 021 789 650 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021789650 : AUGENER'S EDITION, No. 918S. COUNTERPOINT: STRICT AND FREE. BY EBENEZER PROUT, B.A. Lond. (Professor of Harmony and Composition at the Royal Academy of Music), Author of "Harmony : Its Theory and Practice," etc. THIRD EDITION. PIANO ft MUSIC DEPfirJ. W. BRUNT & SONS, DRAWBRIDGE, BRISTOL.. LONDON ATJGENER & CO. {entered at stationers' hall.] Copyright for all Countries.] [Rights of Translation Reserved. " PREFACE. The present volume is the partial fulfilment of the promise made in the preface to Harmony : Its Theory and Practice, to follow that work by a treatise on practical composition. The author's first intention was to write a book on this subject, as a companion to his Harmony ; but as soon as he began to think the matter seriously over, it became apparent that it was quite impossible, within the limits of a single volume, to treat so extensive a subject except in the most superficial manner. Holding firmly to the opinion that whatever is worth doing at all is worth doing thoroughly, he thereupon modified and enlarged his original plan, and resolved (should life and health be spared) to prepare a complete series of treatises on composition, which should embrace all the different branches of that art. -
MTO 24.1 Examples: Pell, Key Profiles in Bruckner's Symphonic Expositions
MTO 24.1 Examples: Pell, Key Profiles in Bruckner’s Symphonic Expositions (Note: audio, video, and other interactive examples are only available online) http://mtosmt.org/issues/mto.18.24.1/mto.18.24.1.pell.html Example 1. Key Schemes of the Expositions Example 2a. Formal Precedents for Bruckner’s Key Schemes Example 2b. Schenkerian Precedents (from Der Freie Satz) for Bruckner’s Voice Leading Example 3 Bruckner VIII: Finale Opening On this level, the fourth progression is subdivided to the extent that its identity as a fourth diminishes. Middleground: Schenker discusses this phenomenon in Der freie Satz ([1935] 1979, §212 and Fig. 87,4). This subdivision allows measures 1-31 for the reinterpretation of several elements: the Bb (once a passing tone) becomes a neighbor tone, and the G recedes beneath the Bb in structural importance. Reinterpretation of this kind is implicit in several of Schenker’s concepts. A. B. C. C'. D. E. 1 11 17 25 31 4-Prg. ' bbb œ œ œ œ eœ œ œ eœ œ œ œ eœ œ œ œ eœ œ & œ œ bœ bbœ œ œ bbœ œ œ * III. IV. œ œ œ nœ œ œ œ nœ ? œ œ œ bœ œ bœ œ bœ œ bœ œ® bbb œ ˙ œ ˙ œ ˙ bbbb ˙ bbb œ ˙ œ œ ˙ bœ œ®œ Db mbaj. C min. œ & ˙ { The Ab of mm. 17–24 is composed out in the same way as Gb in the foreground. Foreground: Surface: measures 1-9 measures 3-9 F. * ' G. H. I. J. K. -
150. Augmented Sixth Chords
MUSIC 2107 Materials and Techniques of Music III Dr. C. Ross Augmented Sixth Chords, I 1. PRE-DOMINANT CLASS CHORD ALTERATIONS; INTENSIFYING THE APPROACH TO 5ˆ There are two diatonic chords belonging to the pre-dominant class: IV and ii in major keys, iv and ii° in minor. We have learned that these chords may be chromatically altered as follows: ! 1.1) “Secondary” functions (V/V, vii°/V): or 1.2) Mode mixture (iv and ii° in major keys): or 1.3) The Neapolitan 6th ( II6): b ☞ All of these chromatic alterations result in an “intensification” of the approach to scale degree 5ˆ , either by semitone from below ( 4ˆ - 5ˆ ), or by semitone from above ( 6ˆ - 5ˆ ): # b or ! ! ! ! ! ☞ AUGMENTED SIXTH CHORDS use both of the above “intensified” chromatic approaches to 5ˆ in the same chord! They are the result of combining secondary functions and mixture: ! 2. DESCRIPTION, ETYMOLOGY AUG. 6TH CHORDS are thus named because, in their most typical voicing, they contain an augmented sixth between the bass and one voice above the bass (between Ab and F#, in the examples above). The three most common varieties of augmented sixth chords are referred to as the Italian Sixth, the German Sixth, and the French Sixth, but there is no logical reason for these national nicknames; they are just names that have stuck, at least in North America and Britain. ☞ Why do you think these chords have names, as opposed to Roman numeral chord symbols? (To answer, try to work out what their Roman numeral chord symbols would be.) 2 3. -
Voice Function, Sonority, and Contrapuntal Procedure in Late Medieval Polyphony
Voice Function, Sonority, and Contrapuntal Procedure in Late Medieval Polyphony By Kevin N Moll During recent years, scholarship in the field of late medieval music has been heavily weighted toward archival research, paleography, and contem porary theory. Such enterprises have furthered our appreciation of the cultural contexts in which music was composed and experienced, and have led to some gratifying advances in our knowledge of manuscript compilation, performance practice, theoretical texts and their traditions, institutional history, and biography. Having rightly acknowledged such achievements, one must nevertheless concede that even the most positivis tic avenues of research often yield results that are decidedly inconclusive.! This state of affairs only reminds us that our understanding of music as a living art in this period must inevitably be founded upon the shifting sands of presumption and educated guessing. Yet there does remain one relatively neglected resource deserving of serious attention, namely, the critical evaluation of compositional techniques as inferred from actual pieces.2 If applied judiciously, such analytical evidence is not necessarily any more conjectural than are conclusions based on study of original source documents. On the contrary, inferences of style and technique drawn from practical composition are an integral complement to results obtained from other disciplines, with each constituting no more or less than one facet of the evidence available to the modern historian of music. An equally compelling -
Approaches to Harmony in Selected Works from Gesualdo's Madrigali E
Approaches to Harmony in Selected Works from Gesualdo’s Madrigali e Cinque Voci Nicholas James Hunter BMusHons A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2016 School of Music Abstract This dissertation investigates Gesualdo’s approaches to harmony in a sample of works from his six books of madrigals: Quanto ha di dolce amore (Book I), In più leggiadro velo (Book II), Dolce spirto d’Amore (Book III), Io tacerὸ, ma nel silenzio mio (Book IV), Itene, o miei sospiri (Book V), and Moro, lasso, al mio duolo (Book VI). Drawing upon approaches developed by Luca Bruno, John Turci-Escobar, and Stefano La Via, the methodology assesses the relationships between harmonic chromaticism and textual, polyphonic, and harmonic structure in each of the six selected madrigals. The dissertation first identifies and defines the various cadence types employed by Gesualdo, with particular focus on those involving chromaticism. It then demonstrates how cadential techniques such as inter-phrase continuity and expressive phrase-overlapping affect polyphonic and harmonic structure in the madrigals. Finally, there is a detailed analysis of each selected madrigal that involves defining the formal units of polyphonic and textual segmentation, presenting a cadential analysis and a taxonomy of all cadential and non-cadential triads, and examining the most structurally important triadic sonorities and their relationships with the overall tonal centre. Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. -
Bent, Diatonic Ficta Revisited
Volume 2, Number 6, September 1996 Copyright © 1996 Society for Music Theory Margaret Bent REFERENCE: ../mto.96.2.5/mto.96.2.5.wibberley.html KEYWORDS: Wibberley, counterpoint, ficta, diatonic, accidentals, mode, notation, hexachords, Josquin, Obrecht ABSTRACT: Roger Wibberley in MTO 2.5 has criticized a version I published of the sequence from Josquin’sAve Maria, on grounds that it flouts Glarean’s modal classification. Cristle Collins Judd has already challenged Wibberley’s construction of mode, and I further deny Glarean’s relevance on chronological grounds. The first part of my article restates and revises some of the premises (ignored by Wibberley) which provided the context for my discussion of the Josquin piece; the second part extends my original discussion of that passage, and offers some comments and questions in response to Wibberley’s paper. A mind is like a parachute. It only works if it is open. [1] I am grateful to Roger Wibberley and other correspondents following his article in MTO(1) for airing some important questions and providing me with an incentive for this reply. I do plan eventually to produce a more fully revised and corrected expansion of the thesis I set out in “Diatonic ficta” (henceforth DF),(2) incorporating replies to Karol Berger and Peter Urquhart, but this may serve as a partial, interim statement.(3) [2] Cristle Collins Judd began her posting of July 23 to mto-talk (“Wibberley, MTO 2.5,” mto-talk 23 July 1996) by addressing not so much Wibberley’s solution but his modal premises. In order to restore premises rather than symptoms to the centre of the discussion, I shall first set the Josquin aside. -
Josquin Des Prez in Fact and Legend
Personal Prayer : Music from the Earliest Notations to the Sixteent... http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780... Oxford History of Western Music: Richard Taruskin See also from Grove Music Online Marian antiphon Guillaume Du Fay PERSONAL PRAYER Chapter: CHAPTER 13 Middle and Low Source: MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY Author(s): Richard Taruskin These Marian antiphon settings sound a conspicuously personal note that we have not previously encountered in liturgical music. That is another aspect of “middling” tone; but it accords well with the votive aspects of Marian worship, the component of the Christian liturgy that in those days was most intensely “personal.” That, too, was something that could be thematized by a knowing composer, especially a knowing churchman-composer. The supreme case in point for a fifteenth-century motet is the third and most splendid setting Du Fay made of the Marian antiphon Ave Regina coelorum, copied into the choirbooks of Cambrai Cathedral in 1465. It is as impressive a motet as Du Fay or anyone ever composed, but it is impressive in an altogether different way from his earlier large-scale motet settings. Where the isorhythmic Nuper rosarum flores (Ex. 8-8) had impressed by its monumentality, Ave Regina coelorum impresses with an altogether unprecedented expressive intensity—unprecedented, that is, within the motet genre. The personal and votive aspect of this motet are epitomized in a moving set of tropes that Du Fay interpolated into the canonical text of the antiphon, representing a prayer for his own salvation that he wanted sung at his deathbed, and that he wanted to go on being recited after his death in perpetuity, for which, a rich man, he provided an endowment in his will: Ave regina coelorum, Hail, O Queen of Heaven! Ave Domina angelorum, Hail, O Ruler of the Angels! Miserere tui Have mercy on labentis Dufaÿ Thy failing Du Fay, Ne peccatorum throw him not into the in ignem fervorum.