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Compositional Languages Fall 2012

Compositional Languages Fall 2012. Instructor: Prof. SIGMAN Tuesday 13:00-15:00 Lecture X. End-of-Semester Schedule. 11/20: 16 th , 18 th , and 20 th century Counterpoint 11/27: 20 th century Polyphony: Ives, Varèse, Ferneyhough 12/04: Musical Timbre

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Compositional Languages Fall 2012

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  1. Compositional LanguagesFall 2012 Instructor: Prof. SIGMAN Tuesday 13:00-15:00 Lecture X

  2. End-of-Semester Schedule • 11/20: 16th, 18th, and 20th century Counterpoint • 11/27: 20th century Polyphony: Ives, Varèse, Ferneyhough • 12/04: Musical Timbre • 12/11: Final Project Presentations; Study Guide distributed • 12/18: FINAL EXAM (시험)

  3. Topics 오늘: • I. Palestrina and 16th Century Counterpoint • II. Bach and 18th century counterpoint • III. 20th century examples: Bartok and Shostakovich

  4. What is “Counterpoint?” • Contra = against • Punctus = point • “note against note” • basis for polyphony • Voices are independent • Voices contain similar material

  5. I. 16th Century Counterpoint

  6. A. Contexts • Madrigals • Motets • Masses

  7. B. Giovanni Luigi da Palestrina (1525-1594) • Italian Renaissance composer • Influenced by Josquin, Dufay, and other Franco-Flemish polyphonic composers • 1545: Council of Trent • Highly prolific (다작의)composer of masses, motets, and madrigals

  8. C. Johann Joseph Fux (1660-1741): Gradus ad Parnassum • Austrian composer and theorist • Author of Gradus ad Parnassum [The Steps at Parnassus], *the* authority on 16th century counterpoint

  9. Gradus ad Parnassum (1725) • written as teacher-student dialogue • Progressive study of species counterpoint • Increasing in complexity • for composers

  10. C. Species Counterpoint • 1) First species: 1 note against 1 note • 2) Second species: 1 note against 2 notes • 3) Third Species: 1 note against 4 notes • 4) Fourth Species: Second species with suspensions • 5) Fifth Species: mixed note values (“florid” counterpoint) • http://en.wikipedia.org/wiki/Counterpoint#Species_counterpoint

  11. D. Modes 6 “ecclesiastical” modes: • 1) Dorian • 2) Phrygian • 3) Lydian • 4) Mixolydian • 5) Aeolian • 6) Ionian

  12. E. Consonance and Dissonance • Consonant intervals: 3rds, 6ths, 5ths, octaves • Dissonant intervals: 2nds, Perfect 4ths, Tritones, 7ths

  13. F. Dissonance Treatment • Passing and neighbour tones • Suspensions • Cambiata figures:

  14. G. Example: Missa pro Defuntis, Kyrie • http://www.youtube.com/watch?v=I6_3Q3sxoOs

  15. 1. Analysis: Basic Properties • 5 voices • 3 points of imitation (Kyrie eleison/Christe eleison/Kyrie eleison) • Fifth species counterpoint • Ionian mode (on F final)

  16. 2. Analysis: Source Material • Paraphrase of chant • First 8 measures: literal quotation • Rhythm: long -> short note values [provided by Palestrina]

  17. 3. Analysis: Part Writing • 1-2 subjects at a time • Voices overlap, except at important cadences • Overlapping = continuity of texture and independence of voices • Step-wise/conjunct (점진적의)motion

  18. 4. Analysis: Imitation (무방) • Melodic interval: P4, P5, unison, or octave • Rhythmic interval (or distance) between voices: 2 beats -> 4 measures • Augmentation/diminution

  19. II. 18th Century Counterpoint

  20. A. Contexts • Inventions (2 voices) • Sinfoniae (3 voices) • Canons (3+ voices) • Fugues (3-4+ voices) • Masses

  21. B. The Fugue • http://www.youtube.com/watch?v=QZM4yxbE0ZE

  22. Example: J.S. Bach: Das Wohltemperierte Klavier Book I, Fuga XVI • G minor • 4 voices • http://www.youtube.com/watch?v=IZX5ShQkP20

  23. 1. Large-Scale Form • Expositions • Episodes

  24. a. Exposition • Contains subjects and answers (imitation) in 3-4 voices • 1-2 Counter-subjects (against subject and answers) • Bridge (between voice entrances)

  25. b. Episode • Contains sequences • Series of tonicisations • 1 model/sequence • No complete statement of the subject • Function: modulation; connects Expositions

  26. 2. Subjects: Real vs. Tonal Answer • Real answer: exactly the same as first statement of subject • Tonal answer: modified to fit key • In Fuga XVI, tonal answer at the 4th/5th (why?)

  27. 3. Devices • Episodes: Circle of 5ths progressions • mm. 30-32: stretto [voice entrances interrupt each other] [builds intensity towards final cadence]

  28. III. Counterpoint in the 20th Century

  29. A. Dmitri Shostakovich, Fugue in C Major op. 87 (1952) • Fugue subject: entrance on every white key • ONLY white keys (no #/b) • On B: “tonal answer”: P5-> Tritone (B-> F, rather than B-> F#) • http://www.youtube.com/watch?v=awvQ3jgcxg4

  30. B. Béla Bartok: Music for Strings, Percussion, and Celesta, Mvt. I (1936) • Chromatic subject • “Spiral” of Entrances: circle of 5ths in 2 directions (A-> E-> D-> B-> G-> F#-> C -> C#-> F, etc.) • Asymmetrical meter • Voice entrances -> climax • Stretto usedhttp://www.youtube.com/watch?v=WNw_2auj1RQ

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