Leave a Comment / By Gisela Paterno / 14/11/2019 Username or Email Address Password Remember Me Log In Lost your password? Course Information Categories: Beginner to Advanced, Counterpoint Tags: Counterpoint, counterpoint species, imitative counterpoint, modal counterpoint, polyphony, tonal counterpoint Course Instructor Gisela Paterno Author MODULE 1: Counterpoint. Introduction Definition. Counterpoint Vs. Polyphony You must enroll in this course to access course content. Why should we study Counterpoint? You must enroll in this course to access course content. Musical Applications of Counterpoint through Time You must enroll in this course to access course content. MODULE 2: The beginning of Counterpoint Historical context. Monophonic Music the IX and X centuries and Notation You must enroll in this course to access course content. Tonal Materials. Ecclesiastical Modes You must enroll in this course to access course content. Mensural Notation You must enroll in this course to access course content. First Polyphony of the Ars Antiqua: Organum and Discantus You must enroll in this course to access course content. MODULE 3: Modal Counterpoint. Renaissance period Historical and cultural context You must enroll in this course to access course content. XIV and XV Century principles of the Franco-Flemish School You must enroll in this course to access course content. Melodic Contour and Rhythmic Principles You must enroll in this course to access course content. The text above all – Word painting You must enroll in this course to access course content. MODULE 4: Species in Counterpoint. General Guidelines What are the Species in Counterpoint and why their study You must enroll in this course to access course content. Contrapuntal Motions You must enroll in this course to access course content. Objectionable parallel motions You must enroll in this course to access course content. The independence of the melodic lines You must enroll in this course to access course content. MODULE 5: 1st Species: note against note Compound intervals between voices You must enroll in this course to access course content. Beginnings and endings You must enroll in this course to access course content. Contrasting melodic lines and independence of the voices You must enroll in this course to access course content. Exercises in the First Species You must enroll in this course to access course content. MODULE 6: 2nd Species: 2 voices against one Second Species: General Overview You must enroll in this course to access course content. Introduction of the dissonance: Rules and examples You must enroll in this course to access course content. Exercises in Second Species You must enroll in this course to access course content. MODULE 7: 3rd Species – 3 voices against one Main Concepts: Prolongation You must enroll in this course to access course content. Guidelines and examples You must enroll in this course to access course content. Exercises You must enroll in this course to access course content. MODULE 8 :4th Species – Suspension Fourth Species Guidelines You must enroll in this course to access course content. Examples of 4th species in Binary and Ternary Meter You must enroll in this course to access course content. Exercises in Fourth Species You must enroll in this course to access course content. Ternary meter in 4th species You must enroll in this course to access course content. MODULE 9: 5th Species: Florid or “Free” Counterpoint Fifth Species: General guidelines You must enroll in this course to access course content. Exercises in Fifth Species You must enroll in this course to access course content. Invertible Counterpoint You must enroll in this course to access course content. MODULE 10: Three-part Counterpoint Three- Part Counterpoint Main concepts You must enroll in this course to access course content. Three-Part Counterpoint: Examples You must enroll in this course to access course content. MODULE 11: Four-Part Counterpoint or Chorale writing Four-Part Counterpoint: General Guidelines in Chorale Writing You must enroll in this course to access course content. Four-Part: Examples You must enroll in this course to access course content. MODULE 12: Canon What is a Canon? You must enroll in this course to access course content. The imitative discourse in Polyphony and its Implications in the Form You must enroll in this course to access course content. Procedures Applied in the Imitation: Types of Canon You must enroll in this course to access course content. MODULE 13: Baroque period and the Countrapuntal Techniques Treatment of Dissonance in the Baroque period You must enroll in this course to access course content. Special devices You must enroll in this course to access course content. Harmony implied in the Polyphonic texture applied You must enroll in this course to access course content. MODULE 14: The Single Melodic Line Voice Leading principles You must enroll in this course to access course content. Melodic Contour: “Archetypes” You must enroll in this course to access course content. Relative importance of the notes You must enroll in this course to access course content. Structural Vs. Ornamental You must enroll in this course to access course content. Balance and Symmetry: Analysis of a Melody You must enroll in this course to access course content. The Compound Line and the Implied Harmony You must enroll in this course to access course content. MODULE 15: Counterpoint in Composition Schenkerian Analysis and Contrapuntal Technique You must enroll in this course to access course content. The Reduction of the Polyphonic Texture into the Concept of Species You must enroll in this course to access course content. MODULE 16: Fugue Vs. Fugato Fugue You must enroll in this course to access course content. Fugato You must enroll in this course to access course content. MODULE 17: Free Counterpoint and Imitation Forms Counterpoint applied to the texture You must enroll in this course to access course content.
