Counterpoint

The Art of Counterpoint

CP-210

3 credit(s)
Course Chair: Arnold Friedman
Offered: Fall, Spring, Summer
Required of: All
Electable by: All
Prerequisites: HR-112, ET-112, and CM-211 or CM-251
Department: COMP

This course will instruct students in the fundamental principles of free counterpoint (i.e., composition with melodic lines) with an emphasis on two-part writing. Through the utilization of a three-pronged focus on principles, literature, and experiential practice, students will complete exercises and projects involving composition and performance within the common-practice period with additional attention to and experience in contemporary tonal practice.

Tonal Counterpoint 1

CP-211

2 credit(s)
Course Chair: Arnold Friedman
Offered: Fall, Spring, Summer
Required of: Degree – all; Diploma – COMP and FILM majors
Electable by: All
Prerequisites: PW-111 and AR-111
Department: COMP

Free counterpoint within a functional tonal context. Emphasis on two-voice writing, binary, and melodic phrase forms.

Tonal Two-Part Canon and Invention

CP-212

2 credit(s)
Course Chair: Arnold Friedman
Offered: Fall, Spring, Summer
Required of: Degree – all; Diploma – COMP and FILM majors
Electable by: All
Prerequisites: CP-210 or CP-211 and either CM-211 or CM-251
Department: COMP

Continuation of CP-211. A thorough study of canon and two-part invention through analysis and composition within a functional tonal language.

Art of Counterpoint 2

CP-215

2 credit(s)
Course Chair: Arnold Friedman
Offered: Fall, Spring, Summer
Required of: COMP, CWPR, and FILM majors
Electable by: All
Prerequisites: CP-210
Department: COMP

A thorough study of the Two and Three-Part Inventions of J.S. Bach through analysis and composition within a functional tonal language. There will be two projects, a two-part invention and a three-part invention in the style of Bach.

Advanced Counterpoint

CP-311

2 credit(s)
Course Chair: Arnold Friedman
Offered: Fall, Spring, Summer
Required of: COMP and FILM majors
Electable by: All
Prerequisites: CM-212 or CM-252, and CP-212 or CP-215
Department: COMP

Analysis and writing of three- and four-voice imitative counterpoint based on traditional models. Models include fugue, chorale prelude, and passacaglia or chaconne.

20th-Century Counterpoint

CP-350

2 credit(s)
Course Chair: Arnold Friedman
Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: CM-212, and CP-212 or CP-215
Department: COMP

The course is based on the examination of different realms of 20th-century counterpoint through the detailed analysis of contrapuntal styles and techniques of leading innovative composers such as Ravel, Stravinsky, Shostakovich, Hindemith, Bart?k, Messiaen, Honegger, Barber, and composers of the New Viennese School. More recent stages in the evolution of counterpoint will be studied in examples by Ligeti, Lutoslawski, Penderecki, Schnittke, and Gubaidulina, as well as contemporary American composers (including Berklee composers).

Jazz Counterpoint 1

CP-361

2 credit(s)
Course Chair: Eric Gould
Offered: Fall, Spring, Summer
Required of: JCMP majors
Electable by: All
Prerequisites: AR-112 and HR-211
Department: JCMP

Study of the process for creating multiline textures in a given melodic and/or harmonic situation. Voice-leading, melodic analysis and embellishment, rhythm, and form. Assigned written projects to emphasize the role of contrapuntal practices in arranging.

Jazz Counterpoint 2

CP-362

2 credit(s)
Course Chair: Eric Gould
Offered: Fall, Spring, Summer
Required of: JCMP majors
Electable by: All
Prerequisites: CP-361
Department: JCMP

Continuation of CP-361. Emphasis on the role that counterpoint plays in jazz composition.