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 12/11: Final Project Presentations; Study Guide distributed 12/18: FINAL EXAM ( 시험 )

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

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

I. 16 th Century Counterpoint

A. Contexts Madrigals Motets Masses

B. Giovanni Luigi da Palestrina ( ) 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

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

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

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) pecies_counterpoint pecies_counterpoint

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

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

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

G. Example: Missa pro Defuntis, Kyrie Os Os

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

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

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

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

II. 18 th Century Counterpoint

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

B. The Fugue E0ZE E0ZE

Example: J.S. Bach: Das Wohltemperierte Klavier Book I, Fuga XVI G minor 4 voices P20 P20

1. Large-Scale Form Expositions Episodes

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

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

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 4 th /5 th (why?)

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

III. Counterpoint in the 20 th Century

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#) xg4 xg4

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 used auj1RQ auj1RQ