Counterpoint is a Piece of Cake: Renaissance improvisation in a modern university course

Research output: Contribution to journalArticle

Abstract

Renaissance counterpoint was for a long time a mainstay of university and conservatoire music degrees, aimed primarily at the composer and musicologist: a time-intensive subject, it has recently has fallen out of favour in increasingly broad curricula with a more diverse student body. Traditionally, counterpoint was taught using rules-based methods that were developed long after the musical style itself. Peter Schubert’s textbook Modal Counterpoint, Renaissance Style (2005) was seminal in returning to the theoretical and pedagogical sources of the period, although the underlying approach was still modern, species-based. More recent research (including Schubert) has revealed pedagogical approaches of the Renaissance, which were based in improvisation techniques that were taught to children. These techniques are also time-intensive, limiting their wholesale applicability in a short course in the context of a modern university. Jürgensen demonstrates how selected exercises based on historical improvisation techniques can be blended with a species-based approach to address a fundamental problem encountered in a time-constrained course: familiarity with the stylistic treatment of consonance and dissonance.
Original languageEnglish
Pages (from-to)85-101
Number of pages17
JournalJournal of Music Theory Pedagogy
Volume33
Publication statusPublished - 15 Jan 2020

Fingerprint

Improvisation
Counterpoint
Teaching
Dissonance
Time Course
Composer
Consonance
Fundamental
Exercise
Music
Musical Style
Curriculum
Textbooks
Familiarity
Musicologists

Cite this

Counterpoint is a Piece of Cake : Renaissance improvisation in a modern university course. / Jürgensen, Frauke .

In: Journal of Music Theory Pedagogy, Vol. 33, 15.01.2020, p. 85-101.

Research output: Contribution to journalArticle

@article{a42111e54b0244609c59e8de1439fbc7,
title = "Counterpoint is a Piece of Cake: Renaissance improvisation in a modern university course",
abstract = "Renaissance counterpoint was for a long time a mainstay of university and conservatoire music degrees, aimed primarily at the composer and musicologist: a time-intensive subject, it has recently has fallen out of favour in increasingly broad curricula with a more diverse student body. Traditionally, counterpoint was taught using rules-based methods that were developed long after the musical style itself. Peter Schubert’s textbook Modal Counterpoint, Renaissance Style (2005) was seminal in returning to the theoretical and pedagogical sources of the period, although the underlying approach was still modern, species-based. More recent research (including Schubert) has revealed pedagogical approaches of the Renaissance, which were based in improvisation techniques that were taught to children. These techniques are also time-intensive, limiting their wholesale applicability in a short course in the context of a modern university. J{\"u}rgensen demonstrates how selected exercises based on historical improvisation techniques can be blended with a species-based approach to address a fundamental problem encountered in a time-constrained course: familiarity with the stylistic treatment of consonance and dissonance.",
author = "Frauke J{\"u}rgensen",
year = "2020",
month = "1",
day = "15",
language = "English",
volume = "33",
pages = "85--101",
journal = "Journal of Music Theory Pedagogy",

}

TY - JOUR

T1 - Counterpoint is a Piece of Cake

T2 - Renaissance improvisation in a modern university course

AU - Jürgensen, Frauke

PY - 2020/1/15

Y1 - 2020/1/15

N2 - Renaissance counterpoint was for a long time a mainstay of university and conservatoire music degrees, aimed primarily at the composer and musicologist: a time-intensive subject, it has recently has fallen out of favour in increasingly broad curricula with a more diverse student body. Traditionally, counterpoint was taught using rules-based methods that were developed long after the musical style itself. Peter Schubert’s textbook Modal Counterpoint, Renaissance Style (2005) was seminal in returning to the theoretical and pedagogical sources of the period, although the underlying approach was still modern, species-based. More recent research (including Schubert) has revealed pedagogical approaches of the Renaissance, which were based in improvisation techniques that were taught to children. These techniques are also time-intensive, limiting their wholesale applicability in a short course in the context of a modern university. Jürgensen demonstrates how selected exercises based on historical improvisation techniques can be blended with a species-based approach to address a fundamental problem encountered in a time-constrained course: familiarity with the stylistic treatment of consonance and dissonance.

AB - Renaissance counterpoint was for a long time a mainstay of university and conservatoire music degrees, aimed primarily at the composer and musicologist: a time-intensive subject, it has recently has fallen out of favour in increasingly broad curricula with a more diverse student body. Traditionally, counterpoint was taught using rules-based methods that were developed long after the musical style itself. Peter Schubert’s textbook Modal Counterpoint, Renaissance Style (2005) was seminal in returning to the theoretical and pedagogical sources of the period, although the underlying approach was still modern, species-based. More recent research (including Schubert) has revealed pedagogical approaches of the Renaissance, which were based in improvisation techniques that were taught to children. These techniques are also time-intensive, limiting their wholesale applicability in a short course in the context of a modern university. Jürgensen demonstrates how selected exercises based on historical improvisation techniques can be blended with a species-based approach to address a fundamental problem encountered in a time-constrained course: familiarity with the stylistic treatment of consonance and dissonance.

M3 - Article

VL - 33

SP - 85

EP - 101

JO - Journal of Music Theory Pedagogy

JF - Journal of Music Theory Pedagogy

ER -