MUSIC 3070: COUNTERPOINT
FALL 2006: TR 12:00-1:15, Room 215
3 Credits, 3 Contact
Hours
Dr. Chris Arrell
213 Music Education Building
(678.466.4751) carrell@clayton.edu
To obtain
this document in an alternative format and request accommodations, please
contact the Disability Services Coordinator, (678) 466-5445, disabilityservices@mail.clayton.edu
Unit One: Species Counterpoint
Unit Two: Counterpoint in Two and Three Parts
Unit Three: The 18th Century Fugue
Prerequisites
MUSC 2012 with a grade of C or better.
Objectives for the course include the study of:
Melodic line, structure, and embellishment
Common contrapuntal forms
The contrapuntal basis of tonal music
Composition and analysis
Learning
outcomes include progress toward: 1) the ability to hear, identify and work
conceptually with the elements of music (melody, harmony, rhythm, form, and
texture); 2) fluency in analytical techniques; 3) the ability to communicate
musical ideas, concepts, and requirements related to compositional practice; 4)
an acquaintance with a variety of contrapunctal
styles and the ability to place these styles within the appropriate context.
Textbook: Kent Kennan,
Counterpoint (4th Edition)
Workbook: Kent Kenna, Workbook for Counterpoint (4th Edition)
The student is responsible for
these texts as well as pencils and manuscript paper to all classes.
Computer
Requirement
Each CSU student is required to have ready access throughout the semester to a
notebook computer that meets faculty-approved hardware and software
requirements for the student's academic program. For further information on the official
notebook computer policy of CSU, please go to http://itpchoice.clayton.edu/policy.htm.
Computer Use
Student notebook computers will be used for accessing course materials,
including Real Player files, and communicating with your instructor. You will be required to install additional
software on your PCs if you do not currently have Real Player on it.
Attendance
Research from around the country
consistently demonstrates that good attendance corresponds with good class
performance. It is important that you
attend all classes, arrive prepared and on time, and stay for the entire class
period (arriving late or leaving early counts as half an absence). If you know you are going to be absent in
advance and tell me, I will give you a preview of the class you will miss. Excused events include documented emergencies
and illness only. Students who expect to miss classes due to a medical
condition, military service, or official university events should let me know
at the beginning of the semester.
You are allowed two absences without penalty. More than two absences will result in the following penalties for all unexcused absences:
3 absences: -2.0% from final grade
4 absences: -4.0% from final grade
5 absences: -6.0% from final grade
6 absences: -8.0% from final grade
7 absences: -10.0% from final grade
Assignments
All assignments must be photocopied and stapled. I will not accept loose pages.
Reading
Lectures will assume that students have read the chapter of study.
The study of counterpoint is challenging, time consuming, and requires a high level of commitment from the student.
All assigned work is due at the
beginning of class, and I am only able to accept late assignments in cases of
university recognized hardship or prolonged illness. Most assignments
due on Tuesdays will be discussed in class.
I will select students at random to show his or her homework to their colleagues.
.
Grades for Assignments 1-12 will be given according to the following point system:
4=Excellent; 3.5=Good; 3=Satisfactory; 2=Unsatisfactory; 1=Incomplete
These numbers will be averaged and then applied to the following percentage scale:
|
4.0=100 |
3.5=88 |
3.0=78 |
2.5=68 |
2.0=58 |
1.5=48 |
1.0-0.0=0 |
|
3.9=97 |
3.4=86 |
2.9=76 |
2.4=66 |
1.9=56 |
1.4=46 |
|
|
3.8=94 |
3.3=84 |
2.8=74 |
2.3=64 |
1.8=54 |
1.3=44 |
|
|
3.7=92 |
3.2=82 |
2.7=72 |
2.2=62 |
1.7=52 |
1.2=42 |
|
|
3.6=90 |
3.1=80 |
2.6=70 |
2.1=60 |
1.6=50 |
1.1=40 |
|
\
When assigning grades, I will consider stylistic accuracy, errors, and how well you demonstrate your knowledge of the course material.
Midterm and Final Exams: These exams will test the student’s comprehension of the course material and will include analyses and short compositional exercises.
Two-Part Invention: The composition of a two-voice invention in the style of Bach, sixteen measures minimum. I will consider the student’s comprehension of the course material when assigning grades for this project. The project must be engraved using a music notation program, such as Finale, and a recording or MIDI realization of the piece must accompany the score.
Presentation:
An analysis and presentation on a fugue from Bach’s WTC that we have not
analyzed in class. Due with the
presentation is an annotated score of the fugue. I will consider the accuracy
of the analysis and the clarity of the presentation when assigning grades for
the presentation. You are required to
have my approval before beginning your project.
Fugue:
The composition of 20 or more measures of a three-voice fugue in Bach’s style
that contains at least the exposition, first episode, and first middle entry,
and features one or more of the following techniques: stretto,
augmentation, diminution, or inversion.
I will consider the student’s comprehension of the course material when
assigning grades for this project. The
project must be engraved using a music notation program, such as Finale, and a
recording or MIDI realization of the piece must accompany the score.
Midterm Progress Report
The midterm grade in this course, which will be issued on Tuesday, October 10, reflects Assignment 1-6 and the Midterm exam, approximately 34% of the overall grade. Based on this grade, students may choose to withdraw from the course and receive a grade of “W.” Students pursuing this option must fill out an official withdrawal form, available in the Office of the Registrar, by midterm, which occurs on Friday, October 13th.
Assignments 50%
Assignments 1-7, 9-10, 12 (10*4%=40%)
Assignments 8, 11 (2*5%=10)
Midterm 10%
Two-Part Invention 10%
Analysis & Presentation 10%
Fugue 10%
Final Exam 10%
100-91=A, 90.999–81=B, 80.999–70=C, 69.999-60.000=D, 59.999-0=F
Please note that I do not offer extra credit to raise the final grade.
Academic Dishonesty
Policy
Any type of activity that is considered dishonest by reasonable standards may constitute academic misconduct. The most common forms of academic misconduct are cheating and plagiarism. Instances of academic dishonesty will result in a grade of zero for the work involved. All instances of academic dishonesty will be reported to the Office of Student Life/Judicial Affairs. Judicial Procedures are described at http://adminservices.clayton.edu/studentlife/judicial_affairs.htm.
Course website:
http://a-s.clayton.edu/arrell/counterpoint/MUSC3070Home.htm
My office hours: http://a-s.clayton.edu/arrell/officehours.htm
Books from Dr.
Arrell (2-hour loan)
Edward Aldwell & Carl Schachter, Harmony & Voice Leading
Thomas Benjamin, The
Craft of Tonal Counterpoint
Wallace Berry, Structural Functions in Music
Kent Kennan, Counterpoint: Based on Eighteenth-Century Practice
Stefan Kostka, Materials and
Techniques of Twentieth-Century Music
Felix Salzer & Carl Schachter, Counterpoint in Composition
Anthologies
Wallace Berry & Edward Chudacoff, Eighteenth-century imitative counterpoint: music for analysis, MT55.B48 E4 Q
Listen, MT6.K365 (anthology) & MT6.K365 1995 suppl., (CDs)
Norton Anthology of Western Music, MT91.N67.2001
Robert Gauldin,
Practical approach to sixteenth-century counterpoint, ML446 .G38 1985
Charlotte Smith, Manual of
sixteenth-century contrapuntal style, MT55 .S63 1989
Baroque
John Butt, Bach, Mass in B
minor, ML410.B1 B93 1991
David Yearsley,
Bach and the meanings of counterpoint, ML410.B13 Y4 2002
Romantic
Stephen E. Hefling (ed.), Mahler studies, ML410.M23 M244 1997
Twentieth-Century
Ernest Krenek, Studies in counterpoint; based on the twelve-tone technique, MT55.K87 S8
Humphrey Searle, Twentieth-century
counterpoint: a guide for students, MT55 .S37
General
Walter Piston, Counterpoint, MT55 .P67
Heinrich Schenker, Five Graphic Musical Analyses, MT140 .S2913 1969
_____________, Free Composition, MT140 .S2913 1969
Arnold Schoenberg, Preliminary
Exercises in Counterpoint, Edited and with a foreword by Leonard Stein,
MT55 .S26
Conduct Expectations
Students must abide by policies in the University Student Handbook, the Basic Undergraduate Student Responsibilities and the CSU Music Major Handbook.
Standards
The content of this course
syllabus correlates to education standards established by national and state
education governing agencies, accrediting agencies and learned society/
professional education associations.
Please refer to the course correlation matrices located at the following
web site:
http://a-s.clayton.edu/teachered/Standards%20and%20Outcomes.htm