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HU Credits:
4
Degree/Cycle:
1st degree (Bachelor)
Responsible Department:
musicology
Semester:
Yearly
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Dr. Bella Brover-Lubovsky
Coordinator Office Hours:
Tuesday 12:30-13:30
Teaching Staff:
Mr. ram rehuven
Dr. Bella Brover-Lubovsky
Course/Module description:
From the sixteenth century up to the present day, the compositional style of Giovanni Pierluigi da Palestrina (1524-1594) is considered an ideal of perfection, the one that embodies the optimal balance between technical complexity and “correctness” with the concept of divine harmony, peace and tranquility. Polyphonic works by Palestrina and other musicians of his generation developed compound contrapuntal technique and had rose compositional skills at their pinnacle.
An analysis and imitation of their style and techniques, based on their works on both religious and secular serve generations of musicians self-discipline and control of all elements of the work.
Course/Module aims:
The course combines an analysis of style and the works of Palestrina and other musicians of his generation in their historical and cultural context with the practical lesson based on writing counterpoint exercises in two and three parts according to the concept developed by Johann Josef Fuchs in his Gradus at Parnassum (1725), and by the theories of strict style counterpoint developed in the 20th century.
Learning outcomes - On successful completion of this module, students should be able to:
At the end of the course the student will learn to control stylistic and technical elements of the 16th century polyphony, and will be able to compose two-three part counterpoint on Latin text.
Attendance requirements(%):
80%
Teaching arrangement and method of instruction:
Lectures and writing workshop
Course/Module Content:
1 Introduction to counterpoint.
Organization of musical material.
Historic styles and types of polyphony.
Stylistic system of ecclesiastical polyphony.
2 Pitch and Sound in music.
Organization of tonal and modal space in Western art music.
The structure of the melodic line.
Rules for writing the Cantus firmus.
3 Texture in music.
Basic premises of polyphony:
Voice leading; vertical and horizontal aspects of polyphonic composition
4. Theory of interval.
Consonances and dissonances and their status in the Palestrina strict-style polyphony
5. First species counterpoint CONTRAPUNCTUS SIMPLEX in two parts.
6. Second species counterpoint in two parts
7. Third species counterpoint: CONTRAPUNTUS DIMINUTUS
8. Accented down-beat dissonance: suspension.
9. Five species counterpoint.
10. Free counterpoint.
11. Techniques of Imitation: free imitation, canon, imitation in inversion and retrograde, diminution and augmentation.
12. Invertible counterpoint
13. Free counterpoint with the text.
14. Three part counterpoint
15. Course summary.
Required Reading:
1. כהן, דליה, שמע וידע של המרכיבים המוסיקליים. אקדמון, ירושלים: תשנ"ו (הוצאה
שלישית מורחבת), פרק VI, עמ' 120-32 MT 50 C 64
2. FUX, Johann Joseph, Steps to Parnassus. The Study of Counterpoint, trans. and ed. by Alfred MANN (New York: Norton, 1943)
3. JEPESSEN, Knud, The Polyphonic Vocal Style of the Sixteenth Century (New York: Prentice Hall, 1939, 1994), Chapters II-IV. MT 55 J 45 K 63
4. SALZER, Felix and Carl SCHACHTER, Counterpoint in Composition (Columbia University Press, 1989, 1998), Chapters I-V MT 55 S 217
5. SCHUBERT, Peter, Modal Counterpoint. Renaissance Style (New York: Oxford University Press, 1999) MT 55 S 28 1999
Additional Reading Material:
Listening and analytic assignment:
Mass movements and motets by Josquin Des Prez, Orlando Lasso, Giovanni Pierluigi da Palestrina and Thomas Louis de Victoria
Course/Module evaluation:
End of year written/oral examination 35 %
Presentation 0 %
Participation in Tutorials 35 %
Project work 0 %
Assignments 30 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
Reception by prior arrangement
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