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Music Theory
Music Theory was first published in 1977. This is a textbook for the study of music theory, using a historical approach which enables the student to learn about compositional devices as they appeared and evolved in early Western music. The textbook and its accompanying workbook provide for the study of basic analytical and compositional techniques through the use of selected literature and original compositional techniques through the use of selected literature and original compositional assignments. With these teaching materials techniques which have been employed periodically throughout history, even into the most advanced of contemporary composition, may be mastered and absorbed as an integral part of the student’s understanding of the aesthetic principles of art. Such compositional techniques as canon, cadential patterns, isorhythm, cantus firmus, initiation, and invertible counterpoint are among the many which are presented for study. A unique feature of the text is the introduction and employment of early notations. Including this dimension helps the student to understand the limitations imposed by the graphic tools of the composer upon his compositional decisions. This approach also enables the student to develop flexibility in the interpretation of notation. The book has been used in a preliminary form by hundreds of students and many different types of teachers. The students were typical college freshmen and sophomores, and none of the faculty had special training in the music of the periods studied, since any teacher with conventional theoretical training can easily master and present the material. The workbook contains 68 musical examples, and specific assignments for students are correlated with the textbook material.
eBook
Workbook/Anthology for Music Theory
This workbook contains 68 musical examples from the middle ages and the Renaissance. Specific assignments for students are designed to correlate with the material presented in Music Theory: Problems and Practices in the Middle Ages and Renaissance by Lloyd Ultan.
eBook
The late Fourteenth century
1. Compose a ballade in the style ofFuions de ci(Example 10.6 of the text). Use a text of your choice, setting it in three voice parts. Employ Ars Nova notation and submit with a modern transcription.
2. Prepare a variable-meter version of the balladeFuions de ci(Example 10.6 of the text) in modern notation. Metrical changes should be made as deemed appropriate to the rhythmical demands of each line individually, but pitches should be aligned in score form to be read where they first sound in relationship to the other parts.
3. Compose a bergerette in the style of
Book Chapter
monophonic forms
In outline form, compare the similarities and differences of sacred and secular monophonic literature. Consider such factors as: singing style; phrasing; linear construction; modal clarity; cadential patterns; and form. Be specific and comprehensive.
Sacred
Secular
Analyze in depth each of the examples that follow. Include in your analyses the points listed below and supplement these by comments you consider pertinent for a complete understanding of the compositions.
Identify all multiple-pitch neumes.
Define the musical form and indicate the factors that contributed to your decision.
Describe the phrase structure and the factors that contribute to its delineation.
Describe the contour
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Secular polyphonic forms
1. Compose a chanson balladees in the style of Machaut. Use a text of original text) and set in three voice parts. The piece should be in tempus minor prolation. Set the piece in Ars Nova notation and provide a modern.
2. Prepare a comprehensive analysis of the Machaut balladeSanz cuer — Amis, Dame, par vouswhich follows. Consider in your analysis each of the items listed below:
a. Linear concept and design;
b. Vertical relationships and the use of dissonance;
c. Use of musica ficta;
d. Cadential treatment;
e. Phrasing, both linear and the totality;
f. Special compositional techniques;
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Palestrina
1.Analyze the motetVeni sponsa Christiwhich follows. Discuss in detail the form, treatment of lines, rhythm, dissonances, vertical relations, phrasing (both linear and composite), and text, comparing the actual compositional practices with the guidelines provided the text. Make special note of any departures from expected practice and consider what factors may have had some bearing on the composer’s decisions.
2.Compose a motet in the style ofVeni sponsa Christi. Use a text of your choice (possibly that of the example). The piece need not be as long as the example, but it should contain the principal characteristics of that
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Palestrina
1. Study the cantiones that follow and compare the two-voice style of Orlando di Lasso with the principles of Palestrina’s two-voice writing. Note similarities and differences, study the linear design, and consider the treatment of rhythm and of dissonances.
2. Compose a two-voice piece about the length of one of the cantiones. Stay strictly within the compositional practices of Palestrina, but use a text of your choice (one of the Lasso texts would be perfectly acceptable). The piece should be composed for two male voices and should include a moderate amount of imitative writing.
3. Analyze each of the lines
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plainsong
In the Dorian mode, compose a nine-part Kyrie eleison according to the following form:
A B A
Prepare comprehensive analyses of each of the following plainsong examples. Include in your analyses each of the following items plus any additional information you consider
pertinent to an accurate description of the musical content of the examples.
Identify the mode and explain your decision.
Identify the sacred form the example might represent. Justify your choice.
Identify all multiple-pitch neumes.
Discuss: range; phrase structure; significant melodic patterns; any modal mutations that occur; melodic style.
Identify all other symbols (other than neumes) by name and
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notation
1. Compose a short but musically complete plainsong passage to the text Kyrie eleison. The passage should be in the Dorian mode using at least five different multiple-pitch neumes in the context of two incises.
2. Transcribe each of the following examples into modern notation and identify each of the multiple-pitch neumes by name. 3. Compose an Alleluia with a mensurated duplum and an unmensurated cantus. The should be taken from one of the Alleluia examples provided earlier in this chapter. Prepare this piece in both modal notation and modern transcription. Use two different of the plica in this example.
Book Chapter