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» » Modal Counterpoint, Renaissance Style
Modal Counterpoint, Renaissance Style e-book

Author:

Peter Schubert

Language:

English

Category:

Fiction

Subcategory:

History & Criticism

ePub size:

1735 kb

Other formats:

lit mbr txt doc

Rating:

4.3

Publisher:

Oxford University Press (May 13, 1999)

ISBN:

0195109120

Modal Counterpoint, Renaissance Style e-book

by Peter Schubert


There is no other textbook in modal counterpoint quite like it. Schubert's innovative division of rules into "hard" (rules never to be violated) and "soft" (rules that may be violated if the occasion demands) has proven very useful in the classroom, and his warm-up exercises for each species are quite helpful. This certainly ranks among the best music theory textbooks of the past ten years. -Anton Vishio, Steinhardt School of Culture, Education, and Human Development, New York University.

MCRS is the most comprehensive textbook in print (as of 2006) that teaches 16th century counterpoint in terms of species. The Jeppesen counterpoint book also deals with species, but has only . exercises, and is not organized in a student-friendly wa.

Peter Schubert’s most popular book is Modal Counterpoint, Renaissance Style.

An exceptional text for undergraduate and graduate music students,Modal Counterpoint, Renaissance Styleuses a wide variety of carefully graded exercises to present guidelines for writing and analyzing 16th-century music. The only species counterpoint text that draws directly on Renaissance treatises, it provides a conceptual framework to guide students through composition and analysis as it teaches them general structural principles.

An exceptional text for undergraduate and graduate music students, Modal Counterpoint, Renaissance Style uses a wide variety of carefully graded exercises to present guidelines for writing and analyzing 16th-century music.

Modal Counterpoint, Renaissance Style introduces the rules for writing and analysing 16th-century music through a wide variety of carefully graded exercises. It begins with species counterpoint - the method used to teach voice-leading and the treatment of consonances and dissonances in contrapuntal composition - with exercises modelled on examples from among 1600.

Modal Counterpoint Schubert Peter Oxford Academ 9780195331943 : The only species counterpoint text that draws directly on Renaissance . Modal Counterpoint, Schubert Peter. Сейчас книги нет в продаже.

Modal Counterpoint Schubert Peter Oxford Academ 9780195331943 : The only species counterpoint text that draws directly on Renaissance treatises, Modal Counterpoint, Renaissance Style, Second . Возможно появится в будущем.

Modal Counterpoint, Renaissance Style The book was one of the first medical treatises to be published in the.

Modal Counterpoint, Renaissance Style. Article in Sixteenth Century Journal 32(3):861 · November 2002 with 131 Reads. How we measure 'reads'. Building facade classification by architectural styles allows categorization of large databases of building images into semantic categories belonging to certain historic periods, regions and cultural influences. The book was one of the first medical treatises to be published in the. pdf - Free ebook download as PDF File . df) or read book online for free. 9-Grieg, Edvard-Samlede Verker Peters Band 1 04 Op 47 Scan. Uploaded by. Mirko Walrus Zambelli.

Schubert - Modal Counterpoint, Renaissance Style. Veale - The techniques of oboe playing.

An exceptional text for undergraduate and graduate music students, Modal Counterpoint, Renaissance Style uses a wide variety of carefully graded exercises to present guidelines for writing and analyzing 16th-century music. The only species counterpoint text that draws directly on Renaissance treatises, it provides a conceptual framework to guide students through composition and analysis as it teaches them general structural principles. With stylistically diverse examples including not only motets and mass movements but also French chansons, German chorale settings, English canzonets, Italian madrigals, and Spanish organ hymns, villancicos, and ricercars, the book gives students a "real-life" feel for the subject. It distinguishes between technical requirements ("hard" rules) and stylistic guidelines ("soft" rules), and includes coordinated exercises that allow students to develop their skills systematically. The concluding chapters provide the formal and conceptual building blocks for longer pieces and encourage students to understand analysis and composition as complementary activities. By the end of the book, they are writing real compositions, not just drill exercises. Modal Counterpoint, Renaissance Style features carefully chosen contemporaneous musical examples, progressively graded exercises, historical asides that explain important topics and issues of the period, and a set of notes to the instructor. Combining the historical accuracy of "style-oriented" texts with the more systematic species counterpoint approach, this book offers a unique alternative to other methods.
olgasmile
Peter Schubert is on the faculty of McGill University. As a first-time teacher of species counterpoint I am impressed by this book's organization, clarity of explanation and vast quantity of practice exercises. For the sake of the beginner student fine nuances of style are skipped, especially in the early chapters, in favor of a thorough grounding in rules, divided into "hard" and "soft" categories. The former are regarded as unyielding benchmarks of correctness, while the latter have to do more with stylistic ease and euphony. The sheer quantity of rules may overwhelm some students; careful explanation by the instructor is necessary to avoid glazed-over eyes and discouragement. At least in my edition there is as yet no attempt to put some of the examples and exercises in audio form, as do many theory texts today. I also think answer keys for some of the shorter exercises would make this book even more useful, though of course such things tempt some students to peek.

Still, the organization of the material and the obvious expertise of the author make this textbook a most impressive entry in the music theory teaching sweepstakes.
Xanna
Easy to read, many many exercises, great approach to the subject. A lot of examples from the literature - this is especially helpful.
Fast Lovebird
This book has a clear modern writing style with plenty of good examples. As a graduate student in composition I found it an engaging and efficient way to learn the information I was interested in.
Zovaithug
Bought this for a workshop on the topic as it was recommended by the instructor. Had no idea there were such tightly constructed rules on composition in the Renaissance... Thank goodness for the rule breakers.
Vobei
Shipped fast, just what I needed
Cointrius
MCRS is the most comprehensive textbook in print (as of 2006) that teaches 16th century counterpoint in terms of species. (The Jeppesen counterpoint book also deals with species, but has only c.f. exercises, and is not organized in a student-friendly way.) Schubert's music examples are drawn primarily from Renaissance music treatises rather than repertoire, in order to illustrate the various species; the relatively small number of repertoire examples includes more French chansons than excerpts from Palestrina or Lassus. There are considerably more exercises and assignments--from preparatory "warmups" through analyses and error detections to c.f. fragments and complete cf's--than can be covered in a 15- week course. Canon and invertible counterpoint are recurring topics. My students found the organization of "hard" and "soft" rules helpful. The exercises can be time-consuming, so teachers considering adopting this book as a course text should allow ample time to go through it in advance to decide which exercises to use and to actually write out their solutions.
Doktilar
Errata for 'Modal Counterpoint, Renaissance Style' by Peter Schubert

Page 2
Ex.I-2: C time sig. should read 2/1
Ex. I-2: m.8, alto, last quarter B-flat should read B-natural
Page 3
Line 8: "labeled in the example" should be deleted (or add missing labels)
Page 10
Ex. 1-1b: last line, 3rd measure fill in G-A-B-C
Page 14
Ex. 1-3e: "(see Exx. 14-6 and 14-7)" should read "(see Exx. 14-9 and 14-10)"
Page 15
Ex. 1-3g: "(see Exx. 14-6 and 14-7)" should read "(see Exx. 14-9 and 14-10)"
Page 23
ill. #6: 2nd ex. w/ pyramid upside down should say "avoid"
Page 25
Ex. 2-6b: treble 8ve clef in first two exx. should be alto clef
Ex. 2-6b: clef in 3rd Ex. should be normal treble clef
Page 51
line 9: "25 percent" should read "20 percent"
Page 55
Exercise 4-D2: first CF note A should read G
Page 61
line 16: "shown in Example 5-4" should read "shown in Example 5-5"
Page 70
line 5: "high point to the next." should read "high point to the next
temporary low point or vice-versa."
Page 72
line 1: "third-species Mixolydian" should read "third-species Hypomixolydian"
Ex. 5-D2: 4th staff, last note low G should be an octave higher
Page 87
ill. rule 4: last example, "X" should be over quarter-note G
Page 92
Ex. 7-5a: add brackets in mm. 4-11 over B-G-A-A-A and A-F-G-G-G
Page 93
Exx. 7-5b & c: same as above
Page 99
Exercise 7-C2: signature in middle line should be B-flat (not C-flat!)
Page 146
Puzzle-canon exercise: fourth canon, last note C should be D
Page 169
line 1: "Example 5-2" should read "Example 5-4"
Page 178
line 11: "stepwise in one direction (you" should read "stepwise (you"
Page 187
Ex. 14-9: m.5, top line, tenor octave clef should be regular treble clef
Page 188
Ex. 14-9: m. 16, middle line, 7th note should be F, not G
Page 188
Ex. 14-10: m. 7, beat 4, middle voice, dot missing
Page 192
line 15: "Compare numbers 4 and 7." should read "Compare numbers 4 and 6."
Page 194
Ex. 14-12, #7: middle line, tenor octave clef should be regular treble clef
Page 221
lines 3-4: delete "In each ...and bracketed" or have students
label & bracket in Exx. 16-8 and 16-9
Page 225
line 3: "in the mode indicated" delete (or teacher must specify mode)
Page 252
line 10: "at the asterisk" should read "in m. 23" (or add * in alto, m. 23)
Page 283
Ex. 19-14: bass, m. 14, reverse note E and rest
Page 308
Ex. App. 1-1: underline both first and third syllables in "Be - ne - dic -tus"
Page 316
Appendix 4: 15th CF note breve D should be semibreve D

Other minor/obvious mistakes are excluded.

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