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

2. 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 )

3. Topics 오늘 : I. Palestrina and 16 th Century Counterpoint II. Bach and 18 th century counterpoint III. 20 th 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. 16 th 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 16 th 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#S pecies_counterpoint http://en.wikipedia.org/wiki/Counterpoint#S pecies_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_3Q3sxo Os http://www.youtube.com/watch?v=I6_3Q3sxo Os

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. 18 th 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=QZM4yxb E0ZE http://www.youtube.com/watch?v=QZM4yxb E0ZE

22. Example: J.S. Bach: Das Wohltemperierte Klavier Book I, Fuga XVI G minor 4 voices http://www.youtube.com/watch?v=IZX5ShQk P20 http://www.youtube.com/watch?v=IZX5ShQk P20

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 4 th /5 th (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 20 th 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=awvQ3jgc xg4 http://www.youtube.com/watch?v=awvQ3jgc xg4

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 used http://www.youtube.com/watch?v=WNw_2 auj1RQ http://www.youtube.com/watch?v=WNw_2 auj1RQ