MUSIC119-19Y (HAM)

Harmony and Counterpoint 1

15 Points

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Division of Arts Law Psychology & Social Sciences
School of Arts
Music

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: anne.ferrier-watson@waikato.ac.nz

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Paper Description

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The course has three components:

(a) Counterpoint: weekly lectures/first semester. The focus in the A semester will be on Species Counterpoint. Beginning with an introduction to the conventions of contrapuntal writing and the cantus firmus, each species (from 1-5) will be discussed in depth. Students will be expected to participate in species exercises during lectures and be prepared to sing (in groups) the results.

(b) Harmony: weekly lectures/second semester. The focus in the B semester will be on 4-part vocal harmony beginning with the basic construction and resolution of major and minor triads, before moving on to more complex harmonies including chromaticism. Analysis of the harmonic language and structure of selected pieces from musicals will be investigated. Again students will be expected to participate in harmony exercises during lectures and be prepared to sing (in groups) the results.

(c) Listening to and analysis of selected work. Analysis of representative works will compliment the harmony and counterpoint sessions through the year.

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Paper Structure

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There is one 2 hour lecture per week in semester A and B. It is expected that you spend at least a further 2 hours per week in study for this paper.

The first hour will be a formal lecture and the second hour will focus on workshops, tutorials, seminars and self-directed study

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Learning Outcomes

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Students who successfully complete the course should be able to:

  • Counterpoint
    Add melody lines from first to fifth species to existing cantus firmi, according to the conventions of contrapuntal writing. At the second stage of contrapuntal studies, students should be able understand, analyse and compose viable pieces in two-part counterpoint according to the principles of Bach's Two-Part Inventions; to understand analyse and write Canons; to understand analyse and write Fugues (exposition only). Students will also be expected to research the history and development of species counterpoint and present their findings in seminars. Because species counterpoint is based around vocal practice, students must arrange for their species exercises to be be performed live with the help of their classmates.
    Linked to the following assessments:
  • Harmony

    1. Compose 4-part harmony according to the conventions of tonal harmonic practices from basic triadic harmony, to the more complex including modulation; the use of secondary 7ths; secondary dominants; diminished; Neapolitan and augmented 6th chords corrected constructed and resolved.

    2. Analyse set pieces including Bach Chorales, pieces from the Classical and Romantic periods and also musicals

    3. Gain understanding and awareness of the history and development of harmony and present their findings in class seminars. Live performances of harmony exercises will be conducted in class.

    Linked to the following assessments:
  • Analysis
    Analyse set works from the repertoire that represent appropriate examples of contrapuntal or harmonic practices as discussed in lectures.
    Linked to the following assessments:
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Assessment

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Assessment Components

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The internal assessment/exam ratio (as stated in the University Calendar) is 100:0. There is no final exam. The final exam makes up 0% of the overall mark.

The internal assessment/exam ratio (as stated in the University Calendar) is 100:0 or 0:0, whichever is more favourable for the student. The final exam makes up either 0% or 0% of the overall mark.

Component DescriptionDue Date TimePercentage of overall markSubmission MethodCompulsory
1. Assignment 1 Species Counterpoint
19 Mar 2019
4:00 PM
10
  • Online: Submit through Moodle
  • Hand-In: Faculty Information Centre (J Block)
2. Harmony 1
21 May 2019
4:00 PM
10
  • Online: Submit through Moodle
  • Hand-In: Faculty Information Centre (J Block)
3. Harmony 2
30 Jul 2019
4:00 PM
10
  • Online: Submit through Moodle
  • Hand-In: Faculty Information Centre (J Block)
4. Counterpoint 2
1 Oct 2019
4:00 PM
10
  • Online: Submit through Moodle
  • Hand-In: Faculty Information Centre (J Block)
5. Test 1
9 Apr 2019
3:00 PM
15
  • Hand-in: In Lecture
6. Test 2
28 May 2019
3:00 PM
15
  • Hand-in: In Lecture
7. Test 3
13 Aug 2019
3:00 PM
15
  • Hand-in: In Lecture
8. Test 4
1 Oct 2019
4:00 PM
15
  • Email: Lecturer
Assessment Total:     100    
Failing to complete a compulsory assessment component of a paper will result in an IC grade
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Required and Recommended Readings

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Required Readings

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Kennan: Counterpoint (4th edition) B Semester
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Recommended Readings

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Merryman: The Music Theory Handbook

Salzer and Schachter: Counterpoint in Composition

Piston: Harmony

Rumery: Introduction to Musical Design Vol. 1

Schöenberg: Theory of Harmony

Piston: Counterpoint

Fux (trans. Mann): The Study of Counterpoint (Gradus ad Parnassum)

Lestro: Harmony in Tonal Music

Jeppeson: Counterpoint

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Other Resources

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www.oxfordmusiconline.com

www.naxosmusiclibrary.com

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Online Support

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Students are able to communicate with the lecturer via Moodle or email directly.

Resources, assignment and test results will be posted on Moodle.

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Workload

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Students are expected to spend at least 150 hours on this paper. This constitutes lectures, tutorials and self directed study.
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Linkages to Other Papers

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Prerequisite(s)

Corequisite(s)

Equivalent(s)

Restriction(s)

Restricted papers: MUSI119

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