Music 5541 – 16th Century Counterpoint

Spring 2021 – 3 cr.

Instructor

Dean W. Billmeyer, DMA, FAGO

Also known as Dr. Billmeyer or Professor Billmeyer (pronouns: he/him/his)

FergH 234 – Virtual Office Hour as posted on Canvas or by appointment

Phone: (612) 624-3307

e-mail: dwb@umn.edu

Delivery Method

M, W, F 9:05 – 9:55 AM, Online and Synchronous

Course Description

The content of this course is stylistic, focusing on the contrapuntal technique of the late

Renaissance period (approximately 1525–1600) with some references to styles immediately

preceding or following this period. Using Robert Gauldin’s text A Practical Approach to 16th-

Century Counterpoint, we will write exercises and develop analytical and compositional

techniques in two, three, and four voices. We will study examples from Renaissance literature,

and written exercises will give you the opportunity to compose in Renaissance style. Emphasis

will thus be on writing skills with some analyses of complete (or sections of) pieces. While the

pedagogical approach to our subject is considered “direct”, we will supplement our study with

some “species” exercises. Topics to be covered include: mode, melody, two-, three, and four-

part counterpoint; cadences, canons, imitation, paraphrase technique, and “familiar” style.

Instructional Time

As a 3-credit course, we will meet as a class via Zoom three days per week. As per University

norms, it is expected that a student will be able to achieve a passing grade by spending an

average of six additional hours per week outside of class.

5541 Syllabus – Page 2

Texts:

• Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint. Waveland Press: 1985-1995. Available at the Bookstore. You may also use the first edition of this text. However, illegal photocopies or scans of the text are not permitted.

• An optional, secondary text is Schubert, Peter. Modal Counterpoint, Renaissance Style. Second Edition. Oxford University Press, 2008. We will make use of some material from this text throughout the semester.

• Some repertoire will be taken from additional sources, including Soderlund, Gustave Frederic and Samuel H. Scott. Examples of Gregorian Chant & Sacred Music of the 16th Century. Waveland Press, 1971, 1996. Supplemental works will be on handouts.

In addition, please have pencil and staff paper available at every class.

Technologies and Technical Requirements

To participate fully in the course, you’ll need:

These technical requirements will allow you to access the Canvas site successfully, send/receive

online communications, complete assigned activities, and view multimedia content.

● A U of M internet ID (your official U of M email address)

● Reliable, high-speed Internet access

● A supported Web browser (Google Chrome or Mozilla Firefox are strongly

recommended)

● Laptop, desktop or tablet with a webcam

● You are not required to turn on your camera, but I encourage it to help build our

classroom community.

Optional but recommended:

● Canvas student app for your smartphone

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Grading Policies

Written Assignments: You will be asked to do written assignments for most classes. Some

shorter assignments may be done in class and given immediate feedback, or done overnight.

Some longer assignments will be weighted twice as much shorter ones.

Instructions for written assignments:

• Assignments should be written on 8 ½ x 11 paper. A PDF scan should be uploaded to the Canvas site as appropriate.

• You must include your name on your paper. You must also include your name, the course number, and assignment number in the filename of your upload. For example, “Mus 5541 John Doe Assignment 1.pdf”.

• Either handwritten or computer printed homework is OK; it’s fine to use software to write assignments. If you do, be sure to sing and play your work, rather than relying solely on a computer’s playback!

• Assignments must be legible, and must include clefs. Note values must be correct; half, quarter, eighth notes (minims, semiminims, fusas), etc., must have stems.

• Mensurstriche bar lines must be used per instructions. (If your notation software makes it impossible to eliminate ties, don’t worry about this detail.)

• Harmonic intervals must be labeled per instructions.

Calculations

Your overall grade consists of the work you do on 21 “shorter” assignments, and 12 “longer”

assignments, as outlined below. The “longer” assignments’ grades are weighted twice as much

as those of the “shorter” assignments.

Late Assignments

Written assignments are due on the dates indicated in the Course Schedule at the beginning of

class, and should be uploaded to the Canvas site. Assignments turned in late will still be

accepted, although the grade will be lowered one-half letter (5 points) for every class day

beyond the due date the work is turned in. For extenuating circumstances that impact your

ability to meet deadlines or participate in class activities, you are responsible for alerting me as

soon as possible.

Assignment Amnesty: You may turn in an assignment one class day late if the due date is the

same date as your recital.

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Attendance

Since many of the skills necessary to complete the assignments are covered in class, missed

classes will most likely result in lower class performance. Therefore, your presence and

participation in class are important. Attendance in class is, for that reason, considered

mandatory. Excused absences are: 1) due to illness or emergency, providing you let me know

the nature of the absence upon your return to class; 2) due to other reasons (such as an out-of-

town performance), providing you and I agree beforehand that the absence is to be excused.

Excused absences will not be given to attend other classes, lessons, or rehearsals at the

University. Excuses for participation in local performances (such as ensemble “run-outs”) will be

given with appropriate advance notice from a faculty member. Most classes will be recorded

and accessible via Canvas. It is your responsibility to review any recording for a class you miss.

Attendance Amnesty: You may have three “unexcused” absences during the semester without

incurring a grade penalty. Each unexcused absence after the third will lower your final grade

one half letter. The provision of a “free cut” does not, however, permit you to turn in any

assignment late.

Expectations for Graded Work

I will generally return your assignments the day following the due date, with written feedback

and a grade. If you submit work after the due date, it may not be returned for several days.

Your graded coursework will be returned in compliance with FERPA regulations, such as during

my online office hours, or via Canvas through which only you will have access to your grades.

Assessment Methods

According to the University definitions, grades are interpreted as follows:

“A” - Achievement outstanding relative to the level necessary to meet course

requirements.

“B” - Achievement significantly above the level necessary to meet course

requirements.

“C” - Achievement meeting the basic course requirements in every respect.

“D” - Achievement worthy of credit even though it does not fully meet the basic

course requirements in every respect.

5541 Syllabus – Page 5

“F” - Performance failing to meet the basic course requirements.

“S” - Achievement satisfactory to the instructor of the course in which the student is

registered. The work required for an S may not be less than that required for a C-

.

Assignments will be given letter grades based on their quality in accordance with the above

definitions. In general, assignments are evaluated on both “technical” and “stylistic” criteria,

with “technical” mistakes (e.g., parallel perfect intervals) carrying more weight.

For the purpose of averaging and weighting grades, I record numerical grades which are

interpreted as follows:

93-100 = A

90-92.9 = A-

87-89.9 = B+

83-86.9 = B

80-82.9 = B-

77-79.9 = C+

73-76.9 = C

70-72.9 = C-

67-69.9 = D+

63-66.9 = D

60-62.9 = D-

0-59.9 = F

Exams: We will not have exams this semester.

Incompletes: Incompletes are assigned at the discretion of the instructor when, due to

extraordinary circumstances, a student is prevented from completing the work of the course on

time. I will give an incomplete only in the event of serious illness or emergency. A written

agreement documenting the reason for the incomplete, and stating how and when the

incomplete will be made up is required. Any incompletes must be made up by the end of the

fall semester 2021. Requests for grade changes due to disputed grades must likewise be made

by the end of fall semester 2021.

5541 Syllabus – Page 6

Calendar and Course Content

The following schedule provides an outline of topics we will cover during the semester. Chapter

and page numbers refer to the Gauldin text. Written assignments are indicated in boldface with

an arrow and due dates, and “Double” or “Longer” assignments with an asterisk (*). This

calendar is subject to revision, and assignments will be updated weekly.

Week Date Topics Assignments

1. Jan. 20 Introduction

Jan. 22 Ch. 1: format, rhythm, modes, Latin pronunciation.

Read Preface and pp. 1-14.

2. Jan. 25 Ch. 2: Melodic Writing with

White Notes.

Read pp. 15-25.

Jan. 27 Ch. 3: Two-voice Texture

with White Notes.

Read pp. 26-30. #1 Due 1/27: p. 21 Ex. 2-8.

Identify errors in the succession of pitches.

Jan. 29 Continuation: Dissonant

White Notes, Cadences.

Read pp. 30-32.

#2 Due 1/29: compose a 36-note melody in Hypophrygian mode.

3. Feb. 1 Continuation: Imitation. Read pp. 33-35. #3 Due 2/1: pp. 24-25:

compose two melodic pieces as indicated. Choose one to re-bar as instructed.*

Feb. 3 Continuation. Time

permitting, begin Ch. 4.

#4 Due 2/3: p. 30: write a consonant piece similar to Ex. 3-5.

Feb. 5 Ch. 4. Melodic Writing with

Black Notes.

Read pp. 36-38. #5 Due 2/5: p. 33: write a

10-measure piece as described, using the indicated text.

5541 Syllabus – Page 7

4. Feb. 8

Continuation. Read pp. 39-41. Read Zarlino’s biography and excerpts from Istitutioni Harmoniche.

#6 Due 2/8: p. 35: write two points of imitation as instructed.*

Feb. 10 Ch. 5. Two-voice Texture

with Black Notes.

Read pp. 42-47. #7 Due 2/10: p. 41: write

two melodies using black-note idioms as indicated.

Feb. 12 Continuation. #8 Due 2/12: p. 47: identify errors in Ex. 5-12.

5. Feb. 15 Ch. 6. Canons.

Read pp. 48-55. Read Glarean’s biography and excerpts from Dodecachordon.

#9 Due 2/15: p. 47: write an example of free counterpoint and a ten-measure piece on the given text.*

Feb. 17 Continuation. Puzzle Canons.

#10 Due 2/17: pp. 53-54: make a full score of Zarlino’s canon.

Feb. 19 Continuation. Canons by melodic inversion.

#11 Due 2/19: solve three puzzle canons taken from Schubert’s text.

6. Feb. 22

Continue Ch. 6. Double Counterpoint.

#12 Due 2/22: solve three inversion canons taken from Schubert’s text and compose a canon in whole notes.*

Feb. 24 Continuation.

Feb. 26 #13 Due 2/26: p. 52: analyze Ex. 6-7, writing out workable versions.

7. Mar. 1 Continuation. Planning a whole piece.

#14 Due 3/1: p. 52: write a passage using double counterpoint at the 12th.

5541 Syllabus – Page 8

Mar. 3 Continuation. Analysis of

appropriate repertoire.

#15 Due 3/3: write the opening three point of imitation and make plans for your Imitative Duo.

Mar. 5 #16 Due 3/5: write the remaining points of imitation and plan cadences for the Imitative Duo.

8. Mar. 8 Ch. 8. Three-voice Texture.

Consonant Sonorities,

Voice-Leading Issues.

Read pp. 76-81

Mar. 10 Continuation. Read pp. 81-86 #17 Due 3/10: p. 60:

complete the composition of an Imitative Duo, 20-30 measures.*

Mar. 12 Continuation. Dissonance

with White Notes.

#18 Due 3/12: p. 81: write a

first-species counterpoint

against Ex. 8-8.

9. Mar. 15 Continuation. #19 Due 3/15: p. 81: write a consonant passage similar to Ex. 8-9.

Mar. 17 Ch. 9. Cadences,

Dissonance in Three

Voices.

Read pp. 87-92 #20 Due 3/17: p. 85:

identify stylistic errors in Ex. 8-17.

Mar. 19 Continuation. Analysis of

appropriate repertoire.

10. Mar. 22 Continuation. The 6/5

sonority and “consonant

4th”.

Read pp. 92-95 #21 Due 3/22: p. 86:

compose a passage of 10 measures as indicated.*

Mar. 24 #22 Due 3/24: p. 92: complete cadences in Ex. 9-8.

Mar. 26 Conclude Chapter 9. #23 Due 3/26: p. 94: identify stylistic errors in Ex. 9-11.

5541 Syllabus – Page 9

11. Mar. 29 Ch. 10. Black Notes;

Imitation.

Read pp. 96-102 #24 Due 3/29: p. 92:

compose an interior cadence and p. 95: compose a ten-measure example of non-imitative counterpoint featuring a 6/5 sonority and “consonant 4th”.*

Mar. 31 Continuation.

Apr. 2 No Class: have a safe

holiday and spring break!

#25 Due 4/2: p. 102: write two opening points on the given text.

12. Apr. 12 Ch. 11. Paraphrase

Technique.

Read pp. 105-112. #26 Due 4/12: pp. 103-104:

complete the missing material in Ex. 10-7.*

Apr. 14

Continuation. #27 Due 4/14: compose two interior points of imitation to use in the assignment on Pange Lingua.

Apr. 16 Ch. 11. Canons.

Read pp. 113-117.

13. Apr. 19

Continuation. #28 Due 4/19: pp. 111-112: compose a three voice piece on Pange Lingua as indicated, using your earlier work.*

Apr. 21 No Class: DWB Recital at

St. Olaf Catholic Church in

Minneapolis.

#29 Due 4/21: solve an assigned three-voice puzzle canon by Cerretto.

Apr. 23

#30 Due 4/23: p. 117: realize Byrd’s Non nobis canon, Ex. 11-14.

14. Apr. 26 Ch. 13. Four-voice Texture,

Familiar Style.

Read pp. 135-145. #31 Due 4/26: pp. 118-119:

compose an original three-voice puzzle canon.*

Apr. 28 Continuation.

5541 Syllabus – Page 10

Apr. 30 Ch. 14. Imitation and

Reentry, Cantus Firmus

Technique.

Read pp. 146-157. #32 Due 4/30: p. 143:

compose a piece in Familiar Style for four voices, using a text as indicated.*

15. May 3 Conclusion #33 Due 5/3: p. 150:

compose a point of

imitation in four voices as

indicated; conclude with a

cadence.*

Supplemental Bibliography and Reserve List

This list includes several useful counterpoint texts, as well as historical sources and other works

of interest.

1. Artusi, Giovanni Maria, d. 1613. L'arte del contraponto. Novamente ristampata, e di molte nuove aggiunte, dall' Auttore arrichita. Hildesheim, New York, G. Olms, 1969. TC Music Library Quarto ML171 .A79 1969.

2. Bassett, Leslie, 1923-2016. Manual of sixteenth-century counterpoint. New York, Appleton-Century-Crofts [1967]. TC Music Library MT55 .B22.

3. Benjamin, Thomas. The Craft of Modal Counterpoint. Second Edition. New York: Routledge, 2005.

4. Burmeister, Joachim, 1564-1629. Musical poetics / Joachim Burmeister; translated, with introduction and notes, by Benito V. Rivera. New Haven: Yale University Press, c1993. TC Music Library MT6.B96 M8713 1993.

5. Christensen, Thomas, ed. The Cambridge History of Western Music Theory. Cambridge; New York: Cambridge University Press, 2001. TC Music Library ML3800 .C165 2001.

6. Cranna, Clifford A. (Clifford Alan) Adriano Banchieri's Cartella musicale (1614): translation and commentary / by Clifford A. Cranna, Jr. 1981. TC Music Library MT860 .B2613x 1981a.

7. Diruta, Girolamo, fl. 1574-1609. The Transylvanian = Il Transilvano / Girolamo Diruta ; edited by Murray C. Bradshaw & Edward J. Soehnlen. Henryville [Pa.]: Institute of Mediæval Music, c1984. TC Music Library Quarto MT182 .D4613 1984.

8. Fux, Johann Joseph, 1660-1741. The study of counterpoint from Johann Joseph Fux's Gradus ad parnassum. New York, W. W. Norton [1965] TC Music Library MT40 .F83 1965.

9. Gauldin, Robert, 1931- A practical approach to sixteenth-century counterpoint. Englewood Cliffs, N.J.: Prentice-Hall, c1985.TC Music Library ML446 .G38 1985.

5541 Syllabus – Page 11

10. Green, Douglass M., and Evan Jones. The Principles and Practice of Modal Counterpoint. New York: Routledge, 2011.

11. Jeppesen, Knud, 1892-. Counterpoint: the polyphonic vocal style of the sixteenth century; translated by Glen Haydon; with a new foreword by Alfred Mann. New York: Dover Publications, 1992. TC Music Library MT55 .J542 1992.

12. Morley, Thomas, 1557-1603? A plaine and easie introdvtion to practicall mvsicke. New York: DaCapo Press, 1969. TC Music Library Quarto MT6 .M86 1969.

13. Owens, Jessie Ann. Comp[osers at Work – the Craft of Musical Composition 1450-1600. New York and Oxford: Oxford University Press, 1997.

14. Palestrina, Giovanni Pierluigi da. Pope Marcellus Mass – An Authoritative Score, Backgrounds and Sources, History and Analysis, View and Comments. Ed. Lewis Lockwood (Norton Critical Score). New York: W. W. Norton & Company Inc., 1975.

15. Schubert, Peter. Modal Counterpoint, Renaissance Style. Second Edition. New York: Oxford University Press, 2008. Quarto MT55 .S29 2008.

16. Soderlund, Gustav Fredric. Examples of Gregorian chant and works by Orlandus Lassus, Giovanni Pierluigi Palestrina and Marc Antonio Ingegneri music : for use in classes of counterpoint / compiled by Gustave Fredric Soderlund. TC Music Library Quarto MT55 .S69 1946.

17. Strunk, Oliver. Source readings in music history / Oliver Strunk, editor. Rev. ed. / Leo Treitler, general editor. New York: Norton, c1998. TC Music Library ML160 .S89 1998.

18. Thomas de Sancta Maria, fray, d. 1570. The art of playing the fantasia = Libro llamado el arte de tañer fantasía / by Thomas de Sancta Maria; an edition prepared by Almonte C. Howell, Jr., and Warren E. Hultberg. Pittsburgh: Latin American Literary Review Press, 1991. TC Music Library Quarto MT5.5 .T513 1991.

19. Zarlino, Gioseffo, 1517-1590. The art of counterpoint. Part three of Le istitutioni harmoniche, 1558. Translated by Guy A. Marco and Claude V. Palisca. New Haven, Yale University Press, 1968. TC Music Library MT55 .Z2313.

20. Zarlino, Gioseffo, 1517-1590. On the modes: part four of Le istitutioni harmoniche, 1558 / Gioseffo Zarlino ; translated by Vered Cohen ; edited with an introduction by Claude V. Palisca. New Haven: Yale University Press, c1983.

5541 Syllabus – Page 12

Success as an Online Learner

Successful completion of this course includes your presence in class sessions, participation as

appropriate, and complement of all assignments. As an underlying principle of online learning,

successful achievement of course outcomes requires a willingness to self-reflect and self-

regulate.

As a “novice” online instructor, I am committed to the above principle. I intend to use the

experience of delivering this course online as an opportunity to learn – and I am especially

interested in learning from the students in the class.

Checklist for Getting Started

1 Review Tips for Succeeding in an Online Course(.pdf) if this is your first online class.

2 Refer to the Rules of Online Communication.

3 Review the Course Outline (above). This part of the syllabus lists all readings and assignments, week by week. I may update this schedule from time to time – in addition, there will be a weekly posting with specific plans for each class and detailed instructions on assignments.

4 Every time you log in check the Announcements and the General Question & Answer Forum for any course-related news.

UMN Policies & Support

Academic Integrity & Misconduct

Academic misconduct is a violation of the UMN Student Conduct Code and is unacceptable.

Students who do not exhibit academic integrity or who engage in scholastic misconduct (see

below) will suffer penalties, up to and including failure of this course.

Scholastic misconduct is broadly defined as "any act that violates the right of another student in academic work or that involves misrepresentation of your own work. Scholastic dishonesty includes (but is not necessarily limited to): cheating on assignments or examinations; plagiarizing, which means misrepresenting as your own work any part of work done by another; submitting

5541 Syllabus – Page 13

the same paper, or substantially similar papers, to meet the requirements of more than one course without the approval and consent of all instructors concerned; depriving another student of necessary course materials; or interfering with another student's work."

It is expected that you will do your original work independently; however, you are otherwise encouraged to work with your classmates outside of, as well as in, class.

Course Access

Access to course materials in Canvas may cease after the term ends. If you wish to archive

materials for your personal records or portfolio you should do so as you progress through the

course. As a general rule, you should always save local copies of course-related work. To avoid

potential problems, you should also save important files to external media or cloud storage.

Name/Pronouns

I will do my best to address you by a name or gender pronoun that you have identified. Please

advise me early in the semester so that I may make appropriate changes to my records.

Academic Services and Resources at UMN

Below are several student services available to students:

● Academic Advising Center

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● Financial Aid Office

● Student Writing Support

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For tips and information about Canvas visit the Canvas Guide Using Help - Student:

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5541 Syllabus – Page 14

You can also contact the Technology Helpdesk Services at (612) 301-4357 or email them at

help@umn.edu for questions about Canvas or any other technological difficulties.

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“Students and employees can request accommodations for religious beliefs and practices from

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receive accommodation requests should make reasonable efforts to grant the requested

accommodation or to grant another accommodation that would permit the student or

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committed to providing equitable access to learning opportunities for all students. The

Disability Resource Center (DRC) is the campus office that collaborates with students who have

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● If you have, or think you have, a disability in any area such as, mental health, attention,

learning, chronic health, sensory, or physical, please contact the DRC office on your

campus (UM Twin Cities - 612.626.1333) to arrange a confidential discussion regarding

equitable access and reasonable accommodations.

5541 Syllabus – Page 15

● Students with short-term disabilities, such as a broken arm, can often work with

instructors to minimize classroom barriers. In situations where additional assistance is

needed, students should contact the DRC as noted above.

● If you are registered with the DRC and have a disability accommodation letter dated for

this semester or this year, please contact your instructor early in the semester to review

how the accommodations will be applied in the course.

● If you are registered with the DRC and have questions or concerns about your

accommodations please contact your (access consultant/disability specialist).

Additional information is available on the DRC website: https://diversity.umn.edu/disability/ or

email drc@umn.edu.