Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1986 The tS atus of Modal Counterpoint in Selected Colleges and Universities in the United States and a Survey of Selected Modal Counterpoint Textbooks (Sixteenth-Century). John Peter Senick Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Senick, John Peter, "The tS atus of Modal Counterpoint in Selected Colleges and Universities in the United States and a Survey of Selected Modal Counterpoint Textbooks (Sixteenth-Century)." (1986). LSU Historical Dissertations and Theses. 4202. https://digitalcommons.lsu.edu/gradschool_disstheses/4202 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. 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Zeeb Road, Ann Arbor, Michigan 48106 8625353 Senick, John Peter THE STATUS OF MODAL COUNTERPOINT IN SELECTED COLLEGES AND UNIVERSITIES IN THE UNITED STATES AND A SURVEY OF SELECTED MODAL COUNTERPOINT TEXTBOOKS The Louisiana State University and Agricultural and Mechanical Col.Ph.D. 1986 University Microfilms International300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1987 by Senick, John Peter All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V . 1. Glossy photographs or p ages ______ 2. Colored illustrations, paper or print ______ 3. Photographs with dark background _____ 4. Illustrations are poor copy ______ 5. Pages with black marks, not original copy ______ 6. Print shows through as there is text on both sides of page _______ 7. Indistinct, broken or small print on several pages \/ 8. 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Other ____________ _________ University Microfilms International THE STATUS OF MODAL COUNTERPOINT IN SELECTED COLLEGES AND UNIVERSITIES IN THE UNITED STATES AND A SURVEY OF SELECTED MODAL COUNTERPOINT TEXTBOOKS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John Peter Senick B.S., Central Connecticut State College, 1979 M.M., Syracuse University, 1982 August 1986 ©1987 JOHN PETER SENICK All Rights Reserved TABLE OF CONTENTS LIST OF TABLES.....................................................................................................vi LIST OF FIGURES................................................................................................. viii ABSTRACT................................................................................................................ix Chapter I. INTRODUCTION..............................................................................................1 Statement of the Problem ....................................................................2 Significance of the Problem .................................................................3 Delimitations...........................................................................................3 Definition of Term s............................................................................... 4 Method of Investigation .......................................................................4 Organization of the Study .................................................................... 9 II. REVIEW OF RELATED LITERATURE....................................................... 10 Introduction..........................................................................................10 Books on Theory Pedagogy ................................................................10 Dissertations......................................................................................... 13 Pedagogical Articles............................................................................14 Reviews of Texts to be Analyzed ..................................................... 22 III. ANALYSIS AND DISCUSSION OF THE QUESTIONNAIRE RESULTS .. .27 Analysis of Data.................................................................................. 28 IV. GENERAL DISCUSSION OF THE TEXTS.................................................57 Aims of Texts.....................................................................................57 Order of Concept Presentation ........................................................59 Terminology and Notation...............................................................62 Form at.................................................................................................64 Musical Examples............................ 64 Assignments and Projects............................................................... 68 V. TREATMENT OF MELODIC CONCEPTS..................................................70 Introduction....................................................................................... 70 Modes and Gregorian C hant ........................................................... 72 Voice Ranges and Tessitura.............................................................75 Skips in the Melody ........................................................................... 77 The Forbidden Tritone Outline ........................................................ 80 MusicaFicta ........................ 81 Initials and Cadence Points.............................................................. 82 Rhythm ................................................................................................ 84 Tied N otes............................................................................................88 R ests..................................................................................................... 89 Quarter Notes...................................................................................... 89 Eighth Notes ........................................................................................ 96 VI. TREATMENT OF TWO-VOICE CONCEPTS............................................. 98 Basic Principles...............................................................................100 Harmonic Materials..........................................................................101 Treatment of Perfect Intervals ......................................................102 Half-Note Passing Tone................................................................... 104 Suspensions.................. 104 Cadences............................................................................................ 106 Quarter Notes....................................................................................108 Eighth Notes ...................................................................................... 112 Im itation............................................................................................112 Double Counterpoint ........................................................................116 VII. TREATMENT OF THREE-VOICE CONCEPTS 119 Harmonic Materials........................................................................121 Cadences...........................................................................................122