18th Century Counterpoint Sylllabus

Eighteenth-Century EighteenthCentury Counterpoint, Music 406 & 506 Richard Hermann, Prof. of Music, Univ. of New Mexico Office Center for the Arts room 2104, 505 277-2419, [email protected]

Information and Class Policies for Music 406/506, 18th-Century Counterpoint Richard Hermann, Prof. of Music, UNM Office: Fine Arts Center, Center, room 2104, [email protected] Attendance Policy: Regular attendance is required. An accumulation of 5 or more

absences, excused or not excused, with a grade average of B or lower will result in a student being withdrawn from the course at my discretion. Otherwise, the grade will be lowered one grade level (e.g. A to A- , B+ to B, etc.) per p er absence after the fifth. If you should have to miss class, contact a class member and get homework and “pre-homework” assignments from them. As soon as possible—preferably p ossible—preferably beforehand—inform me of the reason for your absence. a bsence. You You may use e-mail to inform me. This is area policy. an d Study List...” Listen to the Class Meetings: Study of Pieces from the “Listening and pieces, make your map, and prepare your questions for class discussion. Bring questions about the readings for the day. (See the “Reading Calendar”.)

Class Activities:

(1) Discussion of Assigned Readings from Class Calendar (all) and Graduate Student Reading Calendar (grad students only) (2) If the the discu discussi ssions ons of clas classs readin readings gs show show inadequ inadequate ate insi insight ght or or prepara preparatio tion, n, unannounced reading quizzes may be given at the start of class. Class Preparation:

(1) Read slowly slowly and several several times times whil whilee devel developi oping ng questi questions ons for class. class. (2) Develo Develop p at leas leastt two two quest question ionss or insigh insightful tful observa observatio tions ns abou aboutt the the reading readingss that baffle or intrigue you. You may be asked for them. These questions or observations should be relevant, important, and creative, if at all possible. (3) Write Write thes thesee in pencil pencil in your your textboo textbook k or or xerox xeroxed ed artic article le so so that that you you will will remember them in class when I ask you. Course Objectives: This course focuses on composition in the style of and analysis of chamber music of Europe and to a lesser degree America in the late 17th- through 18th-centuries. Historic, aesthetic, educational, performance, compositional, and theoretical concepts and issues are naturally interconnected and find appropriate emphases within this course.

Information and Class Policies for Music 406/506, 18th-Century Counterpoint Richard Hermann, Prof. of Music, UNM Office: Fine Arts Center, room 2104, [email protected]

Dates, Important:

Registration ends Fri., 30 Aug. Last day to change grading options Fri., 30 Aug. Last day to drop with 100% refund Fri., 6 Sept. Midterm due Tues., 15 Oct. Proposals due (grads) Tues., 22 Oct. Last day to withdraw without Dean’s approval Fri., 8 Nov. Last day to withdraw with Dean’s approval Fri., 6 Dec. “Final Exam” Tues., 10 Dec. 10:30-12:30 (grad presentations, grad papers due, & Class performances as needed) Email: be sure to check your unm email account before class for any last minute

thoughts, pdf handouts, or scores that you will need.

Email Attachment Labeling: You may submit homework and papers via email

attachment. I get many anonymous file/attachment names such as “term paper” or “homework.” This is not very helpful as you might imagine for my associating this with you and this particular class. Hence, please use the following attachment/file labeling convention. Sender’s Last Name—Class Name—Assignment Name Here is an example: Hermann–18thCentCpt–Ch3#2HW. (Here this means the second homework assignment for chapter 3.) Please submit as a pdf for homework; pdf or MS-Word for papers. Of course, a traditional hard copy paper is quite acceptable for homework or papers. Email Subject Line Labeling : I get a lot of email, and it can be difficult to locate the one of yours I may be looking for if it is labelled without a lot of thought. Here is the convention for email labeling for you to follow. Sender’s Last Name–Class Name–Topic. Here is an example: Hermann–18thCentCpt–Ch3#2HW. Extra Help/Office Hours: TBA but on Tues. & Thurs. at my office for your help. If it is

not possible for us to meet at that time, then please make an appointment with me for a mutually agreeable time. Suggest times you can meet on three different work week days via email. I will


select one and inform you by email. Some times I am a bit late; please wait. Final Examination: There is none for this course. The scheduled final examination time

will be used for presentations of graduate student e ssays. Grading Policy: Homework = 59% of the course grade for undergraduates and 32% for

graduates. Class participation (preparation of study pieces & reading as evidenced by questions asked and observations shared) = 25% (Thus, I should NOT have much time to talk); Midterm take home = 16%; Graduates only have a presentation and essay on the same topic = 27%. Homework Policy: Most class meetings will have homework due. (There are 25 in

number.) If after study, you do not understand your errors or my markings, see me during the next office hour or make an appointment with me. Corrected homework will have numbers written at the locations of errors. See “Tonal Error Key Sheet” for a description of the error so labeled. All homework assignments for the semester are found in “Homework Schedule”. As textbooks use differing symbols for analysis, we will standardize on “Notational Conventions for Tonal Music.” For a review of dissonance, see “Comments on Dissonance Types.” INCOMPLETE OR LATE HOMEWORK: I will correct them only if I have time. A substantially complete paper is will be awarded a D. If the paper is not substantially complete, then a grade of F is assigned. If a homework is not turned in, it is assigned a grade of zero for averaging. A substantially late (but complete homework) with good reason will be assigned a grade of C otherwise a D or F if nearly complete or substantially incomplete respectively.

Homework ID: UNM student privacy policy indicates that student papers with

their names on them should not be left in places where others can see them: e.g in a sack on the instructor’s office door. So, please e-mail me three choices for a homework password that you will put on your homework paper where your name would normally go. To ensure that there are no duplicates, I will view them all and tell you which you should use on your homework paper. Only you, me, and my graders will know whose


paper is whose in order to assure privacy. Send me this e-mail before the first Thursday. I will get back to you Wednesday night. Start using the new homework password for the first assignment due on the first Thursday of classes. Lectures and Reading Assignments: See the “Reading Calendar”. I tend to lecture on

related information that is not in the required text. After all, what is the book for if I merely lecture on its contents? I also use class meetings to show other applications of the material. You are responsible for information and concepts from both the lectures and the text. I will certainly answer questions you may have about what you read in the textbook. Where I note disagreements between my opinion and that of the text, remember, I'm giving the grade. Should you be unsure of a conflict between what I've said and what is in the text, gently bring it up in class. I note students with good powers of observation in that regard and reward them. If there is reading involved, for reasons mentioned above, it must be read prior to the class meeting. Should you not do this, you will be unlikely to follow fully what is going on in class. Mistakes: I make mistakes too! Its ok to make them. They only become problems when

we don't examine them carefully and learn from them. If you think you're going to make a mistake, make a good and big one so that we can all learn! Its ok to tactfully point out one of my mistakes, if you think I might have made one. If you are having trouble learning from your mistakes, get help from me immediately! Performance of Your Pieces:

Each class member will have one of three compositions

performed in class (not rehearsed, not sight read, but performed in class). They are the Small Binary piece, the Two Part Invention, or the Large Binary piece. You will be expected to perform in your piece and in other class members’s pieces when asked. The quality of your performance will be a factor in your class participation portion of your grade. I will have sign up times on my office door. You are responsible for rehearsing your classmates. Should you need to change times and wish to swap times with a classmate both of you must email me making the request for a


swap. These will be performed first thing in class so get there a bit early to set up. Bring your own music stands.

Plagiarism: Is directly (by not directly citing the source of a quote and location in

source or homework solution) or indirectly (paraphrasing without citation of source) taking credit for someone else’s work (intellectual theft). Should this occur, the assignment (given a 0 not an F) or entire course (given an F) will be given at my discretion. Further disciplinary action might be assigned by the undergraduate or graduate committee or student government; this may include a suspension from classes for a semester or more or even expulsion. If you have any question, specific or general, about plagiarism, please consult with me for an opinion beforehand . Problems: If after reading this syllabus, you have serious cultural, economic, familial,

health, linguistic or religious issues with the demands of this course or in the manner of its administration, contact me immediately to see what we might be able do to accommodate you. Questions: I LOVE THEM! Remember, no matter how “dumb” your question may seem

to you, at least five other people in class are thinking the same thing. (They just don't have the guts to ask.) Some of the “dumb” questions I've heard in class over the years have forced me to rethink some basic issues in music. If you're confused, ASK THAT QUESTION! If you don't understand the reading assignment—you have reread it, right?—ASK QUESTIONS! How else are you going to get over the rough spots? See my comments on “Class Participation” above. Recordings: You can get free access to classical music recordings as streaming mp3s by following the links given here: http://elibrary.unm.edu/zimmerman/ — Databases—C—Classical Music Library. You will be able to find one or more recordings of any piece used or mentioned in this class. Some are also available for download purchase. The quality of performances on YouTube range from ripoffs of commercial recordings to not-always-adequate student recital performances. It really is important to hear experienced and vetted musicians play this music.


Student input has greatly shaped this course over the years. So, please let me know

how we can improve this for future students in the music department. Those who have done well in this course have gone on to famous graduate programs and been successful. We want to keep a good thing going! Tests & Quizzes: There will be no tests in this class. I hope there will be no quizzes. Text Books, none required but strongly suggeseted:

(1) Robert Gauldin, A Practical Approach to Eighteenth-Century Counterpoint. Revised ed. ProspectHeights, Illinois: Waveland Press, Inc., 2013. Scores Suggested: (These are not in the bookstore.)

(1) Johann Sebastian Bach, Keyboard Music. New York: Dover, 1970. (2) Johann Sebastian Bach, The Well-Tempered Clavier: Books I and II, Complete. New York: Dover, 1983.

(3) 178 Chorale Harmonization of J.S. Bach, 2 vols. (ed. Donald Martino). Only www.dantalian.com sells these. (4) 371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass, ed. Albert Riemenschneider. Zzzz ... Bring blank music paper, your texts,a pencil (NOT a pen), an eraser, and a smile

to class meetings.

Reading Calendar for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected]

Week no. 1 1

Date Due Tues., Aug. 20 Thurs., 22 Aug.

2 2 3

Tues., 27 Aug. Thurs., 29 Aug. Tues., 3 Sept.

3 4 4 5 5

Thurs., 5 Sept. Tues., 10 Sept. Thurs., 12 Sept. Tues., 17 Sept. Thurs., 19 Sept.

6 6 7 7 8 8 9

Tues., 24 Sept. Thurs., 26 Sept. Tues., 1 Oct. Thurs., 3 Oct. Tues., 8 Oct. Thurs., 10 Oct. Tues., 15 Oct.

9 10 10 11 11 12 12 13 13

Thurs., 17 Oct. Tues., 22 Oct. Thurs., 24 Oct. Tues., 29 Oct. Thurs., 31 Oct. Tues., 5 Nov. Thurs., 7 Nov. Tues., 12 Nov. Thurs., 14 Nov.

Reading G or H Pages Ch. 1, Introduction 1-22 Ch. 2, Melody 23-32 H Polyphonic Line Ch. 3 Cpt Ped Foundations 33-40 Ch. 4, 2 Voice: 1 to 1 41-56Ch. 5, Simple diminution: 2 to 1 57-68 Counterpoint to Composition H Mann, The Great Composers G 7-39 Todd, Mendelssohn’s … G 19-26 Ch. 6, 2 Voice Chorale Preludes 69-82 Lester, Compositional Theory... 158-173 Ch. 7, Free Cpt Simple 2 Reprise 83-95 Stefan Eckert, “So, you G want to compose a Minuet?” Music Theory Online, vol. 11, no. 2 Ch. 8, Further Dim. 2 Voice Texture 96-106 C.P.E. Bach, True Art... G 430-445 Ch. 9, Real Imitation, Dbl Cpt 107-116 Kirnberger, The Art… G 266-275 Ch. 10, 2-part Canon & Invention 117-130 FALL BREAK Todd, Mendelssohn’s … G 27-35 Cherubini, A Treatise… G 51-56 Todd, Mendelssohn’s … G 47-52 Ch. 11, Intro. 3 Voice, 1 to 1 & Dimin. 131-140 Lester, Compositional Theory G 173-192 Ch. 12, Dimin. & 3 Voice Chorale Prelude 141-154 Mozart, Attwood Studien* G 167-179 Ch. 13, Chromaticism 155-166 Mozart, Attwood Studien* G 180-221 Ch. 14, Free Cpt. 3 Voices Ext 2 Reprise 167-176 H NotesInvertCpt16thCent

3 Aug. 2013

Reading Calendar for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected]

14 14 15 15 16 16

Tues., 19 Nov. Thurs., 21 Nov. Tues., 26 Nov. Thurs., 28 Nov. Tues., 3 Dec. Thurs. 5 Dec.

Ch. 15, Tonal Imitation, Inv. Cpt

177-193

Ch. 16, Add Cpt Devices, Canon THANKSGIVING Christensen, Hist. Mus. Theory G

194-208 554-602

* * *** * * * * * * * * * * * *

G = required for graduate students, H = a Hermann handout that is supplementary but for all class members to read. Supplementary readings are intended to enrich our textbook, help reorient past education to current thought, or fill holes in backgrounds. These are written by me. Please do not distribute them!

Undergraduates are, of course, welcome to read the required graduate readings to enrich their knowledge; they are just not responsible for them. The required graduate readings are in an informal & abbreviated form. See this course’s bibliography for the formal reference. * = Mozart’s writing is in red ink, and Attwood’s is in black ink. The Basso fondamentale is a line that has the same rhythm as the bass line but consists of chordal roots. It is an analysis of the passage and is not to be performed. This is a volume in the Mozart Collected Works.

GRADUATE STUDENTS: For the G readings above, prepare two observations from the reading that you will tell to the undergraduates in class. These should be understandable to them in the context of the Gauldin and my handouts. These observations should be of interest or even better could be put to use in analysis or composition in this style. You will be given five minutes for each of you to communicate your points. You may provide a well designed and not overburdened handout to assist you in communicating. You are not to try and cover the whole reading nor necessarily the most important points. Focus on what can be rather easily communicated and absorbed that is of some use.

3 Aug. 2013

Studying and Listening Calendar for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419

Week no. 1

Date Due Tues., 20 Aug.

Piece Christ lag in Todesbanden

Ch. No. & Topic 1: Intro

sing, memorize tune!

2

Tues., 27 Aug.

Bach, Anna Magdelena Bach

3: Cpt Ped Fndtns

Notebook , Minuet in G maj.

2

Thurs., 29 Aug.

Handel, Suite in D min.

4: 2 Voices 1:1

Sarabande G125 (Suite = Lesson)

3

Tues., 3 Sept.

Bach, French Suite Bm

5: 2 Voice Dimin.

Sarabande

4

Tues., 10 Sept.

Haydn, String Quartet in G maj. 6: 2 Voice Chorale Prelude Op. 76, No. 3 II Poco Adagio

5

Tues., 17 Sept.

Bach, French Suite C min

7: Binary (2 reprise)

Courante

6

Tues., 24 Sept.

Bach, WTC 1, Prelude #2 C min 8: More 2 Voice Dimin.

7

Tues., 1 Oct.

Bach, French Suite Dm

9: Imitation Dbl Cpt

Minuet 1

8

Tues., 8 Oct.

Bach, 2 Part Invention in D min

10: 2 part canon, Inv

10

Tues., 22 Oct.

Handel, Suite in BÔ maj.

11: 3 Part 1:1 & Dim

Aria con Variazioni, HG II/ii/I

11

Tues., 29 Oct.

Pachelbel, Partita: Christus der

12: Dim3PartChoralePrelude

ist mein Leben

12

Tues., 10 Nov.

Purcell, Dido’s Lament

13: Chromaticism

13

Tues., 12 Nov.

Bach, Partita No. 2 C min.

14: Extended Binary (2 reprise)

Capriccio

15

Tues., 3 Dec.

Bach, WTC 1, Fugue #21 BÔ maj. 15: ImitationMoreInvrtCpt

16

Thurs. 5 Dec.

Bach, WTC 1, Fugue #6 D min.

Homework Calendar for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected]

Week no. 1 1 2 2 3

Date Due Tues., Aug. 20 Thurs., 22 Aug. Tues., 27 Aug. Thurs., 29 Aug. Tues., 3 Sept.

3 4 4 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 12 13 13 14 14

Thurs., 5 Sept. Tues., 10 Sept. Thurs., 12 Sept. Tues., 17 Sept. Thurs., 19 Sept. Tues., 24 Sept. Thurs., 26 Sept. Tues., 1 Oct. Thurs., 3 Oct. Tues., 8 Oct. Thurs., 10 Oct. Tues., 15 Oct. Thurs., 17 Oct. Tues., 22 Oct. Thurs., 24 Oct. Tues., 29 Oct. Thurs., 31 Oct. Tues., 5 Nov. Thurs., 7 Nov. Tues., 12 Nov. Thurs., 14 Nov. Tues., 19 Nov. Thurs., 21 Nov.

15

Tues., 26 Nov.

Homework Pages Set Christ in our Anthology lag in Todesbanden #1 & #2 30, 31 (Ch. 2) #4a 32 (Ch. 2 Add a middle voice & embellish 40 (Ch. 3) #1, #2 (odd numbered) 50, 50-51 (Ch. 4) #1 (odd numbered), #2, #3b 55-56 (Ch. 4) #2 64-65 (Ch. 5) #2, #3 68 (Ch. 5) #1, #3, #4b 73, 74 (Ch. 6) #1, #2 81, 82 (Ch. 6) #3 start binary, 1 part 91 (Ch. 7) #2 finish binary, 2 part 95 (Ch. 7) #1 figuration prelude 105 (Ch. 8) #2 105-106 (Ch. 8) #1, #2a 111, 112 (Ch. 9) #3 do examples in maj. & min. 116 (Ch. 9) FALL BREAK (take home midterm due) #2 122 (Ch. 10) #4 (entire invention, 20-40 bars) 130 (Ch. 10) #1a, #1 133-134, 140 (Ch. 11) (none) #1, #1, 144, 153 (Ch. 12) #3b (Vater unser im Himmelreich) 153-154 (Ch. 12) #1-3 164-165 (Ch. 13) (none) #1, #1 170, 173-174 (Ch. 14) (start 26 Nov. Sarabande very early as this is long!) #1 (1st Vol. only), 4 analyses of 185-186 (Ch. 15) tonal answers, #2 b, d, f, g #2, Entire Sarabande 176 (Ch. 14) st

nd

Length (part 1, 16-20; part 2, 20-32), use ≥2 different sequences, modulate (cadence) in ≥ 2 closely related keys, use one short passage (2

3 Aug. 2013

Homework Calendar for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected] bars) of invertible cpt in 3 parts (present combinations so that each part serves as the bass for the others; use embellishments (diminutions) of simpler structural lines that use motives derived from your theme where reasonable; start off each part (reprise) of the binary with imitation. Be sure that each of the three distinct lines of the triple counterpoint occurs in the bass at some point in the piece.

15 16

Thurs., 28 Nov. Tues., 3 Dec.

16 Thurs. 5 Dec. ******************* Note bene

THANKSGIVING #1b, #2, #3, #4c, #5 do perms so that 192-193 (Ch. 15) each distinct line is in the bass one. (none)

(Italian for “note well”)

As these are nearly as difficult to correct as they are to write, please be sure that you hand in assignments beautifully copied (or computer generated), on full sheets of paper, including your homework id, chapter number, and number of assignment from the chapter (e.g. twinkle toes, ch. 27, no. 2). Please do not xerox from the Gauldin text and try to cram your answer upon it. Should a homework paper not conform, I will return it without corrections or grade at m y discretion.

In your assignments, analyze everything such as dissonance-types, formal parts, contrapuntal devices (canon, invertible cpt, Vorimitation , imitation, etc.), roman numerals, figured bass, cadences, sequences, motives (show with brackets beneath or above score as is visually clear), etc. This helps me diagnose what might be less than well understood. When Gauldin posses a question in an assignment, answer it! This course may expose holes in your past education or memory lapses. At the first sign of such, see me either via office hours or by appointment if you can not make my office hours. are worth 5% course grade each for undergraduates and 3% for graduates. There are six. The lowest score is dropped from the average. However, you may not have a bold homework score dropped. Thus, in total they are worth 25% or 15% respectively of the course grade. Homework in bold

Homework in normal roman type are worth 2% course grade each for undergraduates and 1% for graduates. There are 19 of them, and the grades of the lowest 2 will be dropped. Thus, in total they are worth 34% or 17% respectively of the grade. The value of both sets of homework then total 32% of the course grade for graduate students and 59% for undergraduate students.

3 Aug. 2013

Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419 Christensen, Thomas. ed. The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press, 2001. General Works on the Fugue Bullivant, Roger. Fugue. London: Hutchinson University Library, 1971. Horsley, Imogene. Fugue: History and Practice. New York: Free Press, 1966. Kirkendale, Warren. Fugue and Fugato in Rococo and Classical Chamber Music. Rev. 2nd ed. Trans. Bent, Margaret and Warren Kirkendale. Durham, North Carolina: Duke University Press, 1979. Mann, Alfred. The Study of the Fugue: The First History of Fugal Theory, Including Texts and Music of the Classical Treatises. New York: Norton, 1965.

Renwick, William. Analyzing Fugue: A Schenkerian Approach. Stuyvesant, New York: Pendragon Press, 1995. Walker, Paul Mark. Theories of Fugue from the Age of Josquin t o the Age of Bach. Rochester New York: University of Rochester Press, 2000.

Historical Works on 18th-Century Counterpoint Albrechtsberger, Johann Georg. Gründliche Anweising zur Komposition. trans. Sabilla Novello. London: Novello, Ewer, and Co., n.d. (mid to late 19th cent.) Bridge, J. Frederick. Double Counterpoint and Canon. New York: H.W. Gray Co., 1881. Cherubini, Luigi. A Treatise on Counterpoint and Fugue. rev. Bennett, Joseph. ed. Halvey, Fromental. intro. Fétis, François-Joseph. trans. Clarke, Mary Cowden. New York: Belwin Mills, n.d. (1835) Fux, Joseph. The Study of Counterpoint from Gradus ad Parnassum. Trans. Alfred Mann. New York: Norton, 1965. Gedalge, André. Treatise on the Fugue. trans. Davis, Ferdinand. Foreword Milhaud, D arius. Norman, Oklahoma: University of Oklahoma Press, 1965.

Goetschius, Percy. Elementary Counterpoint . New York: G. Schirmer, 1910. ––––––. Applied Counterpoint. New York: G. Schirmer, 1902. Jadassohn, S. A Manual of Single, Double, Triple and Quadruple Counterpoint. 7th ed., trans. Dr. Theodore Baker. New York: G. Schirmer, 1902 from the 3rd German ed. of 1896. Krumbholtz, Gerald. Friedrich Wilhelm Marpurg’s Abhandlung von der Fuge. (1753-54). Ph.D. dissertation: Eastman School of Music, University of Rochester, 1995.

Prout, Ebenezer. Fugal Analysis. London: Augener, 1892. ––––––. Fugue. London: Augener, 1891. ––––––. Double Counterpoint and Canon. London: Augener, 1891. ––––––. Counterpoint: Strict and Free, London, Augner, 1890. Schenker, Heinrich. Counterpoint: A Translation of Kontrapunkt. ed. Rothgeb, John. trans. Rothgeb, John and Jürgen Thym. 2 vols. New York: G. Schirmer: 1987. Schoenberg, Arnold. Preliminary Exercises in Counterpoint. ed. Stein, Leonard.New York: St. Martin’s Press, 1964.

Fall 2013

Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419 Historical Works on Counterpoint, cont. Taneiev, Serge Ivanovitch. Convertible Counterpoint in the Strict Style. trans. Brower, G. Ackley. intro. Koussevitzky, Serge. Boston: Bruce Humphries, 1962.

Works on Compositional Process & Its Use in Education in the 18th-Century Eckert, Stefan. “‘So, you want to write a Minuet?’ Historical Perspectives in Teaching Theory.” Music Theory Online, vol. 11, no. 2 (June 2005).

http://mto.societymusictheory.org/issues/mto.05.11.2/mto.05.11.2.eckert.html Federhofer, H. “Fux’s Gradus ad Parnassum as Viewed by Heinrich Schenker,” Music Theory Spectrum vol. 4, 1982:66-75. Gjerdingen, Robert O. Music in the Galant Style. Oxford: Oxford University Press, 2007. Kirnberger, Johann Philipp. The Art of Strict Musical Composition. trans. Beach, David and Jürgen Thym. Intro. and ed. Beach, David. New Haven, Connecticut: Yale University Press, 1982. Lester, Joel. Compositional Theory in the Eighteenth Century. Cambridge, Massachusetts: Harvard University Press, 1992. Mann, Alfred. The Great Composer as Teacher and Student: Theory and Practice of Composition. New York: Dover, 1994. ––––––. “Haydn’s Elementarbuch: A Document of Classic Counterpoint Instruction,” Music Forum vol. 3, 1970: 197-237. ––––––. “Beethoven’s Contrapuntal Studies with Haydn, ” Musical Quarterly vol. 66, 1970: 711-726. [Martino, Donald.] 178 Chorale Harmonizations of J. S. Bach: A Comparative Edition for Study. Newton, Massachusetts, Dantalian, 1985. Mattheson, Johann Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, trans. & ed. Ernest C. Harriss, (Ann Arbor, Michigan: UMI Research Press, 1981. Mozart, Wolfgang. Thomas Attwoods Theorie und Kompositionsstudien bei Mozart. Neue Ausgabe Sämtlicher Werke, Werkgruppe 30, Band 1. New York: Bärenreiter. 1965. Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice. Oxford: Oxford University Press, 2012. Todd, R. Larry. Mendelssohnn’s Musical Education: a Study and Edition of His Exercises in Composition. Cambridge: Cambridge University Press, 1983.

18th-Century Aesthetics of Music Baker, Nancy Kovaleff and Thomas Christensen. Aesthetics and the art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christ oph Koch.

Cambridge: Cambridge University Press, 1995. Bonds, Mark Evan. Wordless Rhetoric: Music Form and the Metaphor of the Oration. Cambridge, Massachusetts: Harvard University Press, 1991. le Hurray, Peter and James Day. Music and Aesthetics in Eighteenth and Early-Nineteenth Centuries. abridged ed. Cambridge: Cambridge University Press, 1988. Lippman, Edward. A History of Western Musical Aesthetics. Lincoln, Nebraska: Univ. of Nebraska Press, 1992.

Fall 2013

Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419 18th-Century Aesthetics of Music, cont. Mirka, Danuta and Kofi Agawu, eds. Communication in Eighteenth-Century Music. Cambridge: Cambridge University Press, 2008. Ratner, Leonard G. Classic Music: Expression, Form, and Style. New York: G. Schirmer, 1980.

Tuning and Temperament, Key Characteristics, and Cons. and Diss. Barbour, J. Murray. Tuning and Temperament: A Historical Survey. East Lansing, Michigan: Michigan State College Press, 1951. Steblin, Rita. A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. Rochester, New York: University of Rochester Press, 1996. Tenney, James. A History of ‘Consonance’ and ‘Dissonance’. New York: Excelsior, 1988. n.a. Tuning & temperament bibliography. ftp://ella.mills.edu/ccm/tuning/papers/bib.html

18th–Century Performance Practice Arnold, F.T. The Art of Accompaniment from a Thorough-Bass: As practised in the XVIIth & XVIII Centuries. vol. 1. New York: Dover, 1965. Bach, C.P.E. Essay on the True Art of Playing Keyboard Instruments. trans. & ed. Mitchell, William J. New York: Norton, 1949. Bach, Johann Sebastian. Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four parts… for His Students in Music. facisimile ed.. ed. Pamela Poulin. New York: Oxford University

Press, 1994. Buelow, George J. Thorough-Bass Accompaniment according to Johann David Heinichen. rev. ed. Lincoln, Nebraska: University of Nebraska Press, 1986. Cook, Nicholas. “At the Borders of Musical Identity: Schenker, Corelli and the Graces.” Music Analysis vol. 18, no. 2 (1999): 179-233. Couperin, François. The Art of Playing the Harpsichord. ed. and trans. Halford, Margery. New York: Alfred, 1974. Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge, Massachusetts: Harvard University Press, 1996. ––––––. Bach’s Continuo Group: Players and Practices in His Vocal Works. Cambridge, Massachusetts: Harvard University Press, 1987. Espinosa, Damian. C.P.E. Bach’s Fantasias: The Rhetorical Argument. Albuquerque: Masters Thesis, University of New Mexico, 2000. Gjerdingen, Robert O. issue ed. Journal of Music Theory vol. 51, no. 1 on the Italian Thoroughbass Tradition, “Partimenti.”

Fall 2013

Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419 18th–Century Performance Practice, cont. Hefling, Stephen E. Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes Inegales and Overdotting. New York: Schirmer, 1993.

Hudson, Richard. Stolen Time: the History of Tempo Rubato. Oxford: Clarendon Press, 1994. le Hurray, Peter. Authenticity in Performance: Eighteeth-Century Case Studies. Cambridge: Cambridge University Press, 1990. Lester, Joel. Bach’s Works for Solo Violin: Style, Structure, Performance. Oxford University Press, 1999. Little, Meredith & Natalie Jenne. Dance and the Music of J. S. Bach. Bloomington, Indiana: Indiana Univ. Press, 1991. Mather, Betty Bang and David Lasocki. Free Ornamentation in Woodwind Music: 1700-1775. New York: McGinnis & Marx, 1976. Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. trans. Knocker, Editha. Oxford: Oxford University Press, 1948. Muffat, Georg. Georg Muffat on Performance Practice: The texts f rom Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik. a new trans. with commentary David K. Wilson et alia. Bloomington,

Indiana: Indiana University Press, 2001. Neumann, Frederick. Performance Practices of the Seventeenth and Eight eenth Centuries. New York: G. Schirmer, 1993. Quantz, Johann Joachim. On Playing the Flute. trans. and intro. Reilly, Edward R. New York: The Free Press, 1966. Schulenberg, David. The Keyboard Music of J. S. Bach. New York: G. Schirmer, 1992. Whitmore, Philip. Unpremeditated Art: The Cadenza in the Classical Keyboard Concerto. Oxford: Clarendon Press, 1991. Williams, Peter. The Organ Music of J.S. Bach. 3 vols. New York: Cambridge University Press, 1980. ––––––. Figured Bass Accompaniment. 2 vols. Edinburgh, 1970.

20th- and 21st-Century Textbooks on 18th-Century Counterpoint Gauldin, Robert. A Practical Approach to Eighteenth-Century Counterpoint. Englewood Cliffs, New Jersey: Prentice Hall: 1988.

Kennan, Kent Wheeler. Counterpoint Based on Eighteenth-Century Practice, 2nd ed. Englewood Cliffs, New Jersey, 1972. 1st ed, 1959. Kitson, C. H. Invertible Counterpoint and Canon. New York: Oxford University press, 1928. Krenek, Ernst. An Outline of Tonal Counterpoint in the Style of the Eighteenth Century. New York: Boosey and Hawkes, 1958.

Morris, R. O. Foundations of Practical Harmony and Counterpoint. 2nd ed. New York: St.Martin’s Press, 1931. Norden, Hugo. The Technique of Canon. Boston: Branden Press, 1970.

Fall 2013

Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419 20th- and 21st-Century Textbooks on 18th-Century Counterpoint, cont. Parks, Richard S. Eighteenth-Century Counterpoint and Tonal Structure. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1984. Piston, Walter. Counterpoint . New York: Norton, 1947. Richardson, A. Madeley. Helps to Fugue Writing: Based on Bach’s “Das Wohltemperierte Klavier.” forward Rubin Goldmark. New York: H.W. Gray Co., 1930. Salzer, Felix and Carl Schachter. Counterpoint in Composition: The Study of Voice Leading. New York: McGraw-Hill, 1969.

Schubert, Peter and Christopher Neidhofer. Baroque Counterpoint. Upper Saddle River, New Jersey: Pearson Prentice-Hall, 2006. Verrall, John W. Fugue and Invention in Theory and Practice. Palo Alto, California: Pacific Books, 1966.

Some Analytical Monographs on 18th- (+ one 17th-) Century Counterpoint or Its Use Anson-Cartwright, Mark. “Elision and the Embellished Final Cadence in J. S. Bach’s Preludes.” Music Analysis vol. 26, no. 3 (2007): 267-288. Badura-Skoda, Eva & Paul. Interpreting Mozart: The Performance of His Piano Pieces and Other Compositions, 2nd ed. New York: Routledge, 2008 Beach, David. Aspects of Unity in J. S. Bach’s Partitas and Suites: An Analytical Study. Rochester, New York: Rochester University Press, 2005. Berry, Wallace. “J.S. Bach’s Fugue in D ƒ minor (WTC I No. 8): A naïve approach to linear analysis,” In Theory Only, Vol. 2/10 (Jan. 1977), pp. 4-7.

Brinkman, Alexander. “The Melodic Process in Johann Sebastian Bach’s Orgelbüchlein,” Music Theory Spectrum, Vol. 2 (1980), pp. 46-73.

Bruhn, Siglind. J.S. Bach's Well-Tempered Clavier: Analysis and In-depth Interpretation. Hong Kong: Mainer International Ltd., 1993, four volumes. Cinnamon, Howard, “Durational Reduction and Bach’s C Major Invention.” In Theory Only, vol. 7/1 (May 1983), pp. 25-36.

Harrison, Daniel. “Heads and Tails: Subject Play in Bach’s Fugues.” Music Theory Spectrum vol. 30, no. 1 (Spring 2008): 152-163. ––––––. “Rhetoric and Fugue: An Analytical Application,” Music Theory Spectrum 7/1 (Spring 1990), 1-42. Hermann, Richard. “Charlie Parker’s Solo to Ornithology: Facets of Counterpoint, Analysis, and Pedagogy” Perspectives of New Music vol. 42, no. 2 (Summer 2004): 222-262. ––––––. “Boundaries Transgressed: Text-Painting in Dido’s Lament.” unpub. paper delivered before the joint annual meetings of the Rocky Mountain Society for Music Theory and the Rocky Mountain Chapter of the American Musicological Society, hosted by Arizona State Univ., 31 March 2007.

Fall 2013

Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419 Some Analytical Monographs on 18th-Century Counterpoint or Its Use, cont. Keller, Hermann. The Well-Tempered Clavier by Johann Sebastian Bach. trans. Leigh Gerdine. New York: Norton, 1976. Larson, Steve. “J.S. Bach’s To-Part Invention in C Major.” In Theory Only, vol 7/1 (May 1983), pp. 31-45. McKee, Eric. “Influences of the Early Eighteenth-Century Social Minuet on the Minuets from J. S. Bach’s French Suites, BWV 812-17.” Music Analysis vol. 18, no. 2 (1999): 235-260. Neumeyer, David. “The Two Versions of J.S. Bach’s A-minor Invention [BWV 784].” Indiana Theory Review, Vol. 4/2 (1981), pp. 1-22.

Petty, Wayne. “C.P.E. Bach and the fine art of transposition.” in Schenker Studies 2 . ed. Hedi Siegel. Cambridge: Cambridge Univeristy Press, 1999, pp. 49-66. Riemann, Hugo. Analysis of J.S. Bach’s Wohltemperirtes Clavier (48 Preludes and fugues). 2 vols. trans. Shedlock, John South. London: Augener, n.d. Schachter, Carl. “Bach’s Fugue in B ß Major, Well-Tempered Clavier Book I, No. XXI.” Music Forum, Vol. 3 (1973), pp. 239-67. Siegel, Hedi. “A source for Schenker’s study of thorough bass: his annotated copy of J.S. Bach’s Generalbassbüchlein.” in Schenker Studies, ed. Hedi Siegel. Cambridge: Cambridge University

Press, 1990, pp. 15-28. Schenker, Heinrich. J.S. Bach’s Chromatic Fantasy and Fugue: Critical Edition with Commentary. trans. and ed. Siegel, Hedi. New York: Longman, 1984. ––––––. “A Contribution to the Study of Ornamentation” trans. Hedi Siegel in The Music Forum. vol. 4 eds. Felix Salzer and Carl Schachter. New York: Columbia University Press, 1976. ––––––. “The Largo of Bach’s Sonata No. 3 for solo violin” [BWV 1005]. The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. John Rothgeb. Cambridge: Cambridge

University Press, 1994. pp. 31-8. ––––––. “The Prelude of Bach’s partita No. 3 for solo violin.” [BWV 1006] The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. John Rothgeb. Cambridge: Cambridge

University Press, 1994. pp.39-53. ––––––. “Bach: Twelve Short Preludes, No. 6” [BWV 940] ), The Masterwork in Music: A Yearbook, ed. William Drabkin, trans. Hedi Siegel. Cambridge: Cambridge University Press, 1994. pp. 54-7. ––––––. “Bach: Twelve Short Preludes, No. 7” [BWV 941] ), The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. Hedi Siegel.Cambridge: Cambridge University Press, 1994. pp. 58-61. ––––––. “Bach: Twelve Short Preludes, No. 12” [BWV 942], The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. Hedi Siegel. Cambridge: Cambridge University Press, 1994. pp. 62-66. ––––––. “Domenico Scarlatti: Keyboard Sonata in D minor.” The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. Ian B ent. Cambridge: Cambridge University Press, 1994. pp. 67-74.

Fall 2013

Select & Categorized Bibliography for 18th-Century Counterpoint, Music 406 and 506 Richard Hermann, Prof. of Music, Univ. of New Mexico, Center for the Arts, room 2104, [email protected], 505 277-2419 Some Analytical Monographs on 18th-Century Counterpoint or Its Use, cont. ––––––. Domenico Scarlatti: Keyboard Sonata in G Major.” ), The Masterwork in Music: A Yearbook, Vol. 1. (1925), ed. William Drabkin, trans. Ian B ent. Cambridge: Cambridge University Press, 1994. pp. 75-80. ––––––. “The Organic nature of Fugue, as Demonstrated in the C minor Fugue from Bach’s WellTempered Clavier, Book 1” in The Masterwork in Music: A Yearbook, vol. 2, ed. Drabin, William. Cambridge: Cambridge University Press, 1996. pp. 31-54. ––––––. “The Sarabande of Bach’s Suite No. 3 for solo violon cello.” [BWV 1009] in The Masterwork in Music: A Yearbook, vol. 2, ed. Drabin, William. Cambridge: Cambridge University Press, 1996.

pp. 55-58. Travis, Roy. “J.S. Bach, Invention No. 1 in C Major: Reduction and Graph.” In Theory Only, Vol. 2/7 (Oct. 1976), pp. 29-33. Tovey, Donald Francis. A Preface: Forty-Eight Preludes and Fugues by J.S. Bach: Critical Explanatory Notes to each Prelude and Fugue. New York: Oxford University Press, 1924.

––––––. A Companion to “The Art of Fugue” J.S. Bach. London: Oxford University Press, 1931. Tussler, Robert. The Style of J.S. Bach’s Chorale Preludes. New York: Da Capo Press, 1968.

Väisälä, Olli. “Bach’s Inventions: Figuration, Register, Structure, and the ‘Clear Way to Develop Inventions Properly’”. Music Theory Spectrum vol. 31, no. 1 (Spring 2009): 101-152. Willner, Channan. “Handel’s Borrowings from Telemann: An Analytical View.” in Trends in Schenkerian Research. ed. Allen Cadwallader. New York: Schirmer Books, 1990.

––––––. “Sequential expansion and Handelian phrase rhythm.” in Schenker Studies 2. ed. Hedi Siegel. Cambridge: Cambridge University Press, 1999, pp. 192-221. Winold, Allen. Bach’s Cello Suites: Analyses & Explorations, 2 vols. Bloomington, Indiana: Indiana University Press, 2007.

Fall 2013

Tonal Music Error Key Sheet Richard Hermann, Assoc. Prof. of Music, UNM Error Number

Error Name and Commentary

Page Description in Text Aldwell & Schachter, 2nd ed. VOICE-LEADING

Perfect Consonance Treatment

1. Parallel 8ves, 5ths or unisons 2. Contrary 8ves or 5ths (also called antiparallel) between outer voices; weak otherwise but 8 to 5 or 5 to 8 are ok if in contrary or oblique motion 3. Hidden (also called implied or beaten) 8ves or 5ths between outer voices; approach or leave perfect consonances in outer voices by contrary or oblique motion

pp. 72-3 pp. 74-5 pp. 75-6

Dissonance Treatment

4. Chordal 7th not properly resolved (down by step to a cons.) 5. Chordal 7th not properly prepared by cons. (in Chorale/Hymn style only) 6. Dissonance not properly prepared by cons. (in Chorale/Hymn style only) 7. Dissonance not properly resolved by step to a cons. 8. Suspension-types 7-6 and 4-3 should not have their notes of resolution (6 or 3) sound simultaneously (in another voice) against the suspension’s diss. (7 or 4). 9. Mislabelled dissonance-type 10. Omitted dissonance-type in analysis, e.g. pt, N, IN, appog., sus., etc. 11. Dissonance-type not used in Hymn/Chorale style Doubling Problems

12. Needlessly incomplete chord

p. 65-6.

13. Incorrect: doubled scale degree 7 (leading-tone) in V, viiø , or vii° and their 7th chord versions; the same for applied leading-tones in applied V, viiø or vii° 14. 15. 16. 17.

harmonies and their 7th chord versions but ok within an expansion (except last chord of expansion) Doubled altered, that is not in the key, tone (incorrect only in four or fewer voices) V harmony in minor key needs a raised chordal 3rd; it is a major chord but for pp. 86-7 exceptions, see pp. 241-3, 260, 274-6, 427-9. (Also for raised root for vii˚ in minor) Do not double dissonances in four or fewer parts Do not double chordal 7ths in four parts or less; in more parts the less prominent chordal 7th resolves up by step while the more prominent chordal 7th resolves normally, down by step to a cons.

Motion and Spacing Problems 18. Voice-crossing (avoid in Chorale/Hymn style & simple fig. bass only) 19. Voice overlap or underlap (avoid in Chorale/Hymn style & simple fig. bass only) 20. Incorrect use of melodic leap in Chorale/Hymn style or in simple fig. bass 21. All voices in similar motion (but ok in arpeggio or within an expansion) 22. Scale degree 7 in outer voice of V, viiø or vii° harmonies and their 7th chord versions is not lead up by step to scale degree 1; the same for applied leading-tones in applied V, viiø or vii° harmonies and their 7th chord versions 23. Poor spacing of voices; adjacent voices too far apart, keep in P8ve or less (except tenor & bass which can be even a 12th apart) 24. Cross-relations (e.g. C then C#) are best in the same voice; not between outer voices p. 217 25. No melodic augmented or diminished intervals in Chorale/Hymn style except descending dim. 5th which is then lead up by semitone. 26. Aug. intervals are voice-lead outwards and dimin. intervals are lead inwards 27. Omitted voice (usually an inner voice) in your voice-leading 28. Transfer of preparation of diss. should occur in the same octave; it’s just in a different voice 29. Transfer of resolution of diss. or leading-tone in V or vii° or applied V or vii° should occur in the same octave; it’s just in a different voice 30. Transfer of chordal 7ths into a different register can occur within an expansion but when the expansion ends, the chordal 7th must resolve (down by step to a cons. in the next chord) in the same (new) register. 31. Transfers should be indicated by connecting the pitches with dotted lines. 32. Voice out of range p. 64 33. Needs variety of types of motion between outer voices; use a variety of oblique, merging or diverging contrary, and similar motions 34. Needs rhythmic variety 35. Needs variety in range 36. Melodic shape of outer voice(s) is (are) static

p. 76 p. 76 pp. 70-1

pp. 67-8

1

ALWAYS REFER TO THE MOST CURRENT VERSION OF THIS ERROR KEY revised Aug. 15, 1997

Tonal Music Error Key Sheet Richard Hermann, Assoc. Prof. of Music, UNM FIGURED BASS 37. A figure not called for by the figured bass is in your voice-leading 38. A number from the figured bass that is either literally specified or understood (implied) is not present in the voice-leading 39. Horizontally aligned figured bass numbers must be reflected in the voice-leading by placing them in the same voice 40. Omitted figured bass in analysis 41. Mislabelled figured bass 42. Improper rhythmic alignment of horizontal figures in the figured bass; a figure further to the right occurs later in time 43. Do not double 4th (diss.) measured from bass in six-four chords; usually bass note is doubled 44. Six-four chord improperly used.

pp. 284-304.

HARMONY Progression Problems

45. Chord not studied yet: used incorrectly or avoid until studied 46. Poor harmonic progression (chords enclosed within a box-like figure) 47. Change harmony across barline unless part of a multi-measure expansion 48. Maintain harmonic rhythm here 49. End in the home key but there are a few exceptions in the literature that frequently have to do with text painting in vocal music Chord Structure Problems

50. Diminished triads in six-three except in circle-of-5ths sequences on weak time units and as the back end of a supertonic voice-exchange in minor keys, that is 6-10 never 10-6; but voice-exchanges starting with ø 7& ˚ 7 are ok. 51. Applied (also called secondary) V or vii° chords and their 7th chord versions used incorrectly; applied V has root motion up a 4th or down a fifth to the next chord and must have a major t riad and may have a m7th; applied vii° has a root motion up a semitone to the next chord and must have a diminished triad and either a m7th or ° 7th. The next chord may not be based on a diminished triad; however, see pp. 530-34 52. Augmented triads not part of 18th and early 19th century style; no augmented III chord in minor keys 53. Chord can’t simultaneously have two different qualities: e.g. major and minor or minor and diminished etc.; check the chord and your analytical symbols and correct. 54. Chord structure is incorrect; no such chord in traditional tonality Chord Labeling Problems

55. Mislabelled chord quality (maj., min., dimin., half-dimin., etc.): I = major, i = minor, ii° = dimin., iiø = half dimin. seventh chord 56. Omitted harmonic roman numeral in analysis 57. Mislabelled root of harmony (wrong roman numeral) in analysis or function (e.g. not an applied V, etc.) 58. Enharmonic equivalent harmony, tonal region, or key is the better understanding here Expansion Problems

59. Expansion not labelled in analysis 60. Incorrect expansion in analysis 61. Incorrect non-structural chord within expansion 62. Omitted voice-exchange in analysis 63. Voice-exchange incorrect; must be 10-6 or 6-10 between the same pair of voices (e.g. sop. & bass or alto & tenor, etc.) and both chords must have same harmonic function; six-four chords do not participate in voice-exchanges because they are usually dissonant chords 64. Expansion does not extend over into the next phrase. This next phrase is a “new beginning” in character. 65. Include the non-structural chords of an expansion within ( )s. 66. Durational emphasis (agogic accent) of a chord or expansion of a chord should emphasize the meter but ok if another meter is temporarily in action (e.g. a hemiola) 67. Bass line incorrect for this expansion

2


Tonal Music Error Key Sheet Richard Hermann, Assoc. Prof. of Music, UNM Modulation & Tonicization Problems 68. Omitted Pivot chord in analysis 69. Mislabelled pivot chord in analysis (wrong location) 70. Not a pivot chord because this chord does not occur in both tonal regions or “keys” 71. Mislabelled modulation-type in analysis; types are pivot, chrom., sequence, & enharm. 72. Omitted modulation-type in analysis 73. Needs variety of tonal regions (“modulation”) or harmonic variety 74. Mislabelled key or tonal region 75. Omitted key or tonal region in analysis Mode Mixture and Sequence Problems

76. Mislabelled mode mixture-type 77. Omitted mode mixture-type in analysis 78. Altered root of chord not indicated in the analysis. Sharp, flat, or natural sign is missing from in front of the roman numeral 79. Mislabelled sequence-type 80. Omitted Sequence-type in analysis 81. Sequence-type not studied: used incorrectly or avoid until studied 82. VII (subtonic) is used for the circle-of-5ths sequences in minor keys and not vii° (leading-tone); recall VII’s root is the key signature’s 7th scale-degree and vii° ’s root is the raised 7th scale degree CADENCES 83. Bass motion in authentic cadences must be scale degree 5 to scale degree 1. (root position chords); this is not a cadence because the bass line is incorrect 84. Bass note of V harmony in half (also called semicadence) must be scale degree 5 (root position chord) 85. Harmony of V in half cadence is a pure major triad in 18th century music; sometimes a V7 in 19th cent. music; half cadence also called semicadence 86. Cadential six-four chords start on strong time units 87. Deceptive cadences are followed immediately by authentic cadences 88. Deceptive cadences do not end pieces, and they usually are not the first cadence in a piece 89. This is not a cadence because the harmonic progression is incorrect 90. Label of AC for authentic cadence is not enough: PAC or IAC here: PAC has soprano on chordal root; IAC has either chordal 3rd or 5th in soprano. 91. Mislabelled cadence-type 92. Omitted cadence-type in analysis 93. Plagal cadences (“amen” cadences) are usually embellishments of the final tonic chord of an authentic cadence. It is typically more of a type of cadential e xtension than an independent cadence. 94. Cadence missing in your writing assignment 95. Fermata usually indicates cadence location in J. S. Bach chorales; it does not mean hold the chord. MISCELLANEOUS 96. Incomplete paper, complete and turn in again for a grade within one week. I will correct and return incomplete homework only if I have the time. 97. Two different pitches that share the same letter-name are simultaneously present (in Choral/Hymn style only). e.g. C and C# 98. Incorrect stem direction: notes on staff above midline have descending stems; notes beneath midline have ascending stems; notes on midline may have stems in either direction; when two voices share the same staff, the usually higher voice has all of its notes stemmed upwards and the usually lower voice has all of its notes stemmed downwards even if they cross. 99. Voices are not in proper vertical (harmonic) rhythmic alignment 100. Needs articulation or variety of 101. Needs dynamics variety of 102. Label how phrases relate to one another; e.g. parallel period, contrasting period, etc. 103. Do not change or omit given material. 104. Do not add to given material. 105. Required device not present in your writing

3


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Richard Hermann, Prof. of Music, Univ. of New Mexico Room 2104, Center for the Arts, [email protected], 277-2419

Topic: Choose one of the following. The midterm exam will employ standard academic

formating. If you are unsure of what that entails, see me during my office hours. The Oxford Music Online and Grove Music Online (available free online courtesy of UNM libraries) are the only reliable online sources. If you do not know how to access these sites, see me during my office hours or see a librarian. Be sure to cite not just literal quotations from other authors but also when you borrow or adapt their ideas. Biographical, historical, and other non-theoretical information are unwelcome for this midterm. (1)

Compare and contrast 5 Species Counterpoint (either J. J. Fux or Salzer and Schacter) with the ideas in Gauldin’s chapters 4 through 6.

(2)

Compare and contrast a Minuet by J. S. Bach from his French Suites with one from a piano sonata by Joseph Haydn. Present a map/analysis of both pieces as appendices as well as copies of the scores. Use them to support your ideas. Be specific (measure and beat) in locating your observations.

th

Length:

Undergraduates: Four to Six Pages.; Graduates: Six to Ten Pages.

Due:

The first class meeting after fall break.

Complete Analysis: In the map for each piece label keys, cadence types, modulation types

(how done), sequence types, contrapuntal devices (e.g. invertible counterpoint type, canons, points of imitation, stretto, tonal or real answers, etc.), prolongations (aka expansions or second level analysis), important or unusual motivic work, and so forth. Types of counterpoint contrast and compare: how dissonance is used, ideas in the

temporal realm such as meter, design (layout of technical devices), ideas on range, register, articulations, etc. What is similar and what is different? Minuet Contrast and compare: design (layout of all technical devices), tonal structure

(modulations and tonicizations), motivic work, nature of themes, complexity of voice leading and harmony, use of range, density, articulation, dynamics, phrase organization (both within and between), etc. What is similar and what is different?

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Richard Hermann, Prof. of Music, Univ. of New Mexico Room 2104, Center for the Arts, [email protected], 277-2419

Select from one of the following options. The essay should range between ten and fifteen pages in length and employ standard academic formating. If you are unsure of what that entails, see me during my office hours. With the exception of Oxford Music Online and Grove Music Online (available free online courtesy of UNM libraries) are the only reliable online sources. If you do not know how to access these sites, see me during my office hours or see a librarian. Be sure to cite not just literal quotations from other authors but also when you borrow or adapt their ideas. Biographical, historical, and other non-theoretical information should be restricted to a page or preferably less in length. NB: a well thought out, argued, and written short essay is superior to a poorly thought out, argued, or written long essay.

(1) Compare and contrast Handel’s instruction of Princess Anne and Zelter’s instruction of Mendelssohn in counterpoint. See Mann and Todd entries from the bib. (2) Compare and contrast a harpsichord fugue by Handel or Telemann with one from Bach’s Well Tempered Keyboard that uses the same contrapuntal devices. Do a complete analysis of each including maps. Be sure to read Gauldin’s 17 th and 18th chaps. (3) Compare and contrast a choral fugue from Handel’s Messiah and one from Mozart’s Requiem or one of Mendelssohn or Haydn’s oratorios that have similar devices. See the directions for (2) above. Also read the 21 st chapter in the Gauldin text. (4) Compare and contrast a fugue for organ by Dietrich Buxthehude or Johann Pachelbel and J. S. Bach that uses the same technical devices. See the directions for (2) above. (5) Propose a topic of your choice. Submit a proposal to me in writing before November. See the handout entitled “Writing Proposals.“ I will respond on the class meeting before the Thanksgiving break or earlier. Due: On the day of the scheduled final examination for this course before 12 noon. Hand it in at the music department office and have the secretary put their own initials, day, and time of day received. Ask them to put it in my faculty mailbox. There will be a penalty, at my discretion, for late papers. Complete Analysis: In the map for each piece label keys, cadence types, sequence types, contrapuntal devices (e.g. invertible counterpoint type, canons, points of imitation, stretto, tonal or real answers, etc.), prolongations (aka expansions or second level analysis), and so forth. Proposal Due: On or before 29 Oct. Consult with me well beforehand. See handout on writing proposals. All must have the proposal approved before writing.

UNDERGRADUATES may do one of these essays for up to 10% extra credit as desired.

Some Ideas About Writing Scholarly Proposals in Music Theory Richard Hermann, Assoc. Prof. of Music, Univ. of New Mexico

The Proposal Scholarly courses require term papers or some other kinds of projects with scholarly components. These are typically due near the end of the semester. The mechanics of writing a paper, master’s thesis, or doctoral dissertation are covered in various books found in this document’s bibliography. Naturally, all writings, including the proposal, shou ld adhere to the procedures found within them. Questions will arise about scholarly mechanisms, and your professor can clarify them for the purpose at hand. The proposal is a document of varying length depending upon its specific use. It can range from three to even twenty pages in the case of a doctoral dissertation. The purpose of a proposal is to convince a faculty advisor, faculty advisory committee, editor, or program committee for a professional conference that you have a well developed idea, a reasonable plan, and a command of relevant scholarly literature to proceed with writing the talk, term paper, thesis, dissertation, or book. Proposals for graduate theory class projects/term papers are usually due before midterms. Start early as there is much to do! Here is a list of some items that should appear in most proposals. Some adjustments to this may be necessary given the nature of the project. These adjustments will either be dictated o r negotiated depending upon the circumstances. These should occur roughly in the order presented here. Item five commonly is not found in proposals but rather in the “finished product.”

(1) The proposal provides the specifics of an hypothesis of some sort (in short, what is the problem to be addressed; (2) it outlines a method of some sort that shows the mechanism for testing the hypothesis and how the results of applying that method will be evaluated; (3) it lists the works to be examined with the method with some explanation of why they might 1


be suitable for examining your hypothesis; (4) it sets forth some expected outcomes; (These may change during the course of investigation; (5) it concludes with a summary discussing the relative success (or lack thereof) and lists further questions for research that your study has uncovered; and (6) it provides a relevant bibliography. While these are mostly presented in the language of “scientific discourse,” these can a ll be rephrased from a “humanities” viewpoint. If one or more of these suitably rephrased items seems inappropriate, provide a carefully reasoned discussion of why the item is not applicable and what ideas are more appropriate in your study.

A Few Thoughts on Writing the Proposal, Essay, or Thesis Each paragraph should have a rather straightforward topic sentence that alerts the reader about the particular thread in the fabric of your exploration. These should be your guideposts for mercilessly excluding material not related to the topic sentences of your paragraphs. Examining these topic sentences, in order, should alert you to missing ideas or poor continuities in your proposal or even in the thesis’s plan (and within its individual chapters). Use proper bibliographic foot- or endnotes when you mention other scholars. Attribute as many directly relevant ideas as possible to other appropriate scholars so that your contributions are made clear to the reader. Failure to do so can be construed as plagiarism by omission or commission. This can be a very serious academic infraction that can result in referral to a student government court 2


for possible disciplinary action. If in doubt, ask you r professor. Edit out ideas that do not contribute fairly directly to your hypothesis/issue/problem (henceforth “h/i/p”) and theoretical methods for addressing the same. Theories selected must be shown to bear directly upon addressing the h/i/p section. If you need to adapt some ideas of others, that should be appropriately a ttributed. If you must/have create(d) new ideas, they should be mentioned in quite brief outline in this section of the proposal. If you find yourself simply applying other people’s ideas, then you should reexamine your h/i/p very carefully to see if you have a real h/i/p that needs to be addressed. An exception to this is an essay that tests someone else’s theory to see if it is actually useful in ana lysis of pieces that we might reasonably suspect to be explained to some appropriate extent by the theory. Musical work(s) should be chosen because they are the best for exploring h/i/p, and the methods employed will both satisfy h/i/p as well as be useful in elucidating some facet of the music. Be sure to coordinate expected outcomes appropriately with your h/i/p section. In a typical thesis outline, an introductory chapter lays out a h/i/p, presents only the most necessary biographic and cultural facts to put h/i/ p into a context for the reader, and gives a “bird’s eye” overview of how the thesis is organized. A second chapter presents the specific methods employed and how the methodology of others have been adapted It should also mention the music to be closely examined and why the music was specifically chosen. If relevant, the third chapter presents the analyses/interpretations of that music using the methods previously

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mentioned. The fourth chapter provides conclusions in relation to the research of others and finishes with listing the most pressing research questions that were uncovered by study but not answered by it. The bulk of the thesis should occur in the middle two chapters. Various adjustments can be made in this outline with the recommendations of your advisor. Bibliography

Booth, Wayne C. The Craft of Research, 2nd ed. Chicago: University of Chicago Press, 2003 Germano, William. Getting It Published: A Guide for Scholars and Anyone Else Serious about Serious Books. Chicago: University of Chicago Press, 2001.

Judd, Karen. Copyediting: A Practical Guide. Los Altos, California: Crisp, 1988. Madsen, David. Successful Dissertations and Theses: A Guide to Grade Student Research from Proposal to Completion. 2nd ed. San Franscisco: Jossey-Bass Publishers, 1992.

Side, Charles H. How to Write & Present Technical Information. Phoenix, Arizona: Oryx, 1991. Stone, Jon R. Latin for the Illiterati . New York: Routledge, 1996. Strunk, William and E.B. White. Elements of Style, 3rd ed.. New York: McMillian, 1979. Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations, John Grossman and Alice Bennett rev. 6th ed. Chicago: University of Chicago Press, 1996.

NB of these, the Booth, Strunk, and Turabian are of most direct relevance for planning, writing style, and scholarly mechanisms respectively. 4

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