Counterpoint MUSI 4420 Fall 2021 Syllabus - Peter Fielding, Kennesaw State University - SelectedWorks
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Kennesaw State University
From the SelectedWorks of Peter Fielding
Fall 2021
Counterpoint MUSI 4420 Fall 2021 Syllabus.pdf
Peter Fielding, Kennesaw State University
Available at: https://works.bepress.com/peter-fielding/100/SYLLABUS
College of the Arts
Bailey School of Music
MUSI 4420: Counterpoint
Fall 2021
Course Information
Class meeting times: Tuesday, Thursday 11:00 am – 11:50
Modality and Location: Lecture, Classroom, J.M. Wilson Bldg. Room 119 (MS-Teams link)
Instructor Information
Name: Peter G. Fielding, Ph.D.
E-mail: pfieldin@kennesaw.edu
Office Phone: 470.578.5064
Office Location: J.M. Wilson Bldg. Room 215, 471 Bartow Ave., or via course MS-Teams link
Office Hours: Tuesday. Thursday, 12:30 pm-1:30 pm, and by appointment.
*Preferred Method of Communication
Visiting my office is the most direct ways to reach me during the day.
Email and Communication Response Times
I monitor my email throughout M-F and strive to respond within 2 business days.
Accommodations Statement
Kennesaw State University provides program accessibility and reasonable accommodations for
individuals who have a disability defined under Sections 504 and 508 of the Rehabilitation Act and
the Americans with Disabilities Act. Students with qualifying disabilities who require
accommodations (academic adjustments and/or auxiliary aids or services) for this course must
register with Student Disability Services to create an accommodation plan. Faculty will work with
Student Disability Services to ensure approved accommodations are implemented appropriately for
all course formats (face-to-face, online, hybrid, etc.) and in accordance with the applicable laws.
Course Description & Purpose
2 Class Hours 0 Laboratory Hours 2 Credit Hours
Prerequisite: Music Theory IV (MUSI 2222, MUSI 3122)
Analysis and principles of writing in the contrapuntal styles of the common practice period to the
present.
In this class we will analyze and create musical vignettes, modelling compositional practices of the
Renaissance, Baroque, and later traditions of the Common Practice Period. The final portion of the
course will allow students to focus on an independent analysis or music composition spanning a
stylistic period of their choosing (modal, tonal, post-tonal, etc.), culminating in an end of semester
sharing/performance/presentation.
Copyright© 2021, Kennesaw State UniversityMUSI 4420 Fall 2021 Syllabus
Course Objectives
By the end of this course, you should be able to:
1. Generalize contrapuntal features of music spanning multiple stylistic periods
2. Analyze polyphonic music employing contrapuntal techniques
3. Compose contrapuntal model music compositions for 2-4 voices
4. Employ imitative techniques in model compositions for 2-4 voices
Guiding principles for my approach pursuing these course objective can be summarized by
contemporary Scholarship of Teaching and Learning (SoTL) concerning student academic motivation
and success, such as the work of Brett Jones with academic motivation.
MUSIC Model of Academic Motivation Inventory 1
MUSIC Model of Students perceive that:
Academic Motivation
Empowerment (a) they have control over their learning environment in the course
Usefulness (b) the coursework is useful to their future
Success (c) they can succeed at the coursework
Interest (d) the instructional methods and coursework are interesting
Caring (e) the instructor cares about whether they succeed in the coursework and
cares about their well-being
Required Textbook/Supporting Materials
Required Materials: Music manuscript paper, pencil, eraser
Required Texts: None (see below)
Recommended Texts: KSU library, e-book, and other OER resources will aid your learning in this
courses. Permalinks have been provided to aid your access to KSU e-resources.
KSU Library Music e-databases:
• Classical Music Library
• Classical Scores Library
• International Index to Music Periodicals (IIMP) Full Text
• Naxos Music Library
• Naxos Music Library Jazz
• RILM Abstracts of Music Literature
1 [Jones, Brett D. “Testing the MUSIC Model of Motivation Theory: Relationships between Students’ Perceptions,
Engagement, and Overall Ratings.” Canadian Journal for the Scholarship of Teaching and Learning 10, no. 3
(December 1, 2019).
https://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=eric&AN=EJ1242569&site=ehost-
live&scope=site.
2MUSI 4420 Fall 2021 Syllabus
KSU Library texts and e-books:
Benjamin, T., & Bach, J. S. (1986). Counterpoint in the style of J.S. Bach. Schirmer Books.
MT55 .B446 1986
Benjamin, T., & Bach, J. S. (2003). The Craft of Tonal Counterpoint. 2nd ed., Routledge.
Broude, R. (2020). To Sing Upon the Book: Oral and Written Counterpoint in Early Modern Europe.
Textual Cultures, 13(1), 75. https://doi.org/10.14434/textual.v13i1.30071
Benjamin, T. (2005). The Craft of Modal Counterpoint: Vol. 2nd ed. Routledge.
Franceschina, J. C. (2015). Music theory through musical theatre: putting it together. Oxford
University Press. MT956 .F73 2015
Fux, J. J., Mann, A., & Edmunds, J. (1965). The study of Counterpoint: from Johann Joseph Fux’s
Gradus ad Parnassum (Revised edition.). W.W. Norton & Company.
MT40 .F83 1965
Green, D. M. (2011). The Principles and Practice of Modal Counterpoint /. Routledge.
Hoag, M. (2018). On Relevance and Repertoire in the Eighteenth-Century Counterpoint Classroom.
Bach, 49(2), 388–401. https://doi.org/10.22513/bach.49.2.0388
Kennan, K. (1959). Counterpoint, based on eighteenth century practice. Prentice-Hall.
MT55 .K53
Schoenberg, A. (1964). Preliminary exercises in counterpoint. St. Martin’s Press.
MT55 .S26 1964
Thakar, M. (1990). Counterpoint : Fundamentals of Music Making. Yale University Press.
Required Technology Skills:
Music Notation Software
Other Web Resources:
IMSLP Petrucci Music Library
Robert Hutchinson, Music Theory for the 21st-Century Classroom
• Preface (pugetsound.edu)
• Species Counterpoint (pugetsound.edu)
• Fugue Analysis (pugetsound.edu)
How to Use Course Materials: This syllabus is a framework for the aspired scope for this course.
Collective class progress may lead to a condensing of later units, as required.
The bulk of course learning will be pursued through in class activities and discussion of analyses and
compositions. Recommended course materials serve as a bibliography of resources to augment in
class work and select assignments will involve library/OER resources.
3MUSI 4420 Fall 2021 Syllabus
Student Learning Outcomes
As a senior-level course for B.A. Composition and B.A. Music Theory degree students, it serves to
facilitate your exploration of Counterpoint through both analytic and compositional lenses. The course
spans nine units. The breakdown of unit topics are as follows:
Unit Learning Activities Points
Unit 1: Introduction, Approaches Readings, discussion, in class and 50 points
teaching Western Music assigned homework
Counterpoint
Unit 2: Introduction to Modal Fux Species model composition 150 points
Counterpoint (Fux/Species, exercises and analyses
2 voices, 3 voices)
Unit 3: Species in Tonal Music Readings, discussion, in class and 50 points
assigned analysis
Unit 4: Binary Dance Suite Dance suite composition project, in- 150 points
class performance
Anonymous mid-course feedback (written)
Unit 5: Rudiments of Fugue Readings, discussion, analyses, model 100 points
fugal composition technique exercises
Unit 6: Fugue Fugal composition project, in-class 200 points
performance
Unit 7: Counterpoint in Classical Readings, discussion, analysis (sample 50 points
Repertoire repertoire: piano etudes, lieder/art song,
string quartet)
Unit 8: Classical Model Brief Classical Form composition 50 points
Composition (i.e. Sentence/Period-based form)
Unit 9: Final Project Project proposal, Analysis or 200 points
Composition, presentation
Final Grade /1000 points
Anonymous end of semester feedback (Explorance Blue)
Evaluation & Grading Policies
Assigned materials are due at the beginning of class as they will frequently be reviewed in class.
Student missing a class for a bonafide medical reason may be asked to pursue other learning
activities on a different timeframe.
Course Grade A B C D F
% 89.5-100 79.5-89.4 69.5-79.4 59.5-69.4 0-59.4
Points 895-1000 795-894 695-794 595-694 0-594
Minor class activities and homework assignments or class work may be given a grade of
‘check plus’ (√+), ‘check’ (√), ‘check minus’ (√-), resubmit (R), or zero (0).
√+ √ √- R (resubmit) 0
10/10 9/10 8/10 Materials receiving a resubmit grade may be Learning activity or
(A) (B) (C) resubmitted, within one week, assignment not pursued
for an improved grade. or submitted.
4MUSI 4420 Fall 2021 Syllabus
Course Policies & Expectations
Attendance
As a required senior-level required lecture course for B.A. Composition and Music Theory majors,
regular class attendance is expected. Lack of consistent attendance will impact a student’s ability to
participate in class learning activities and earn marks for any graded in-class activities. Office hours
serve to provide additional consult time to students, but will not substitute for non-medical missed
class learning activities.
Communication Rules/Online Course Etiquette
As this is a lecture course that utilizes D2L, please be mindful of your colleagues in both physical and
virtual class space. For any sessions involving the Course’s MS-Teams portal, please adhere to
standard KSU Netiquette practices such as:
• Be sensitive and reflective to what others are saying.
• Avoid typing in all capitals because it is difficult to read and is considered the electronic
version of 'shouting'.
• Don't flame - These are outbursts of extreme emotion or opinion.
• Think before you hit the post (enter/reply) button. You can't take it back!
• Don't use offensive language.
• Use clear subject lines.
• Don't use abbreviations or acronyms unless the entire class knows them.
• Be forgiving. Anyone can make a mistake.
• Keep the dialog collegial and professional, humor is difficult to convey in an online
environment.
• Always assume good intent and respond accordingly. If you are unsure of or annoyed by a
message, wait 24 hours before responding.
Expectations/Class Participation
As a senior-level course, you are expected to take greater autonomy balancing your preparation time,
optimizing our office hour consult time to help support your learning.
In case this needs to transition to an online modality, or if anyone is medically required
to pursue this course in an online capacity, here are Tips for Effective Online Learning
• Our course has an embedded MS-Teams link on our D2L page and this syllabus
• Check the D2L course website regularly
• Work closely with your instructor
• Practice good time management. If you can start a task early, don’t start late. Assuming you
spend the same amount of time completing the task, starting later will be much more stressful
than starting early. Never wait until the last minute to begin an assignment! You’ll have no
turnaround time if you need help or something happens.
• Review course materials frequently
• Track deadlines. Complete and submit assignments on time.
You can find more helpful information from Online Learning Support.
5MUSI 4420 Fall 2021 Syllabus
What is Plagiarism?
Plagiarism is defined as the practice of taking someone else’s work or ideas and passing them off as
one’s own. If you are unaware or uncertain on how to properly cite a particular source, please do not
neglect to add the citation—that is considered plagiarism.
For model composition activities that use a prexisting melody or fragment, that source should be
acknowledge (i.e. a cantus firmus melody for our Species modal writing).
For other model composition and analytic work, materials created for this course should be new and
not derivative of your own prior compositions or analytic writings (self-plagiarism).
Turnitin/Online melody banks
Students agree that by taking this course all required compositions and analyses may be subject to
submission for textual or musical similarity review to Turnitin.com or melody repositories for the
detection of plagiarism. Submitted materials may be included as source documents in the
Turnitin.com reference database, solely for the purpose of detecting plagiarism of your materials by
other students. Use of the Turnitin.com service is subject to the Terms and Conditions of Use posted
on the Turnitin.com site.
Institutional Policies
Academic Integrity Statement
Course Delivery
KSU may shift the method of course delivery at any time during the semester in compliance with
University System of Georgia health and safety guidelines. In this case, alternate teaching modalities
that may be adopted include hyflex, hybrid, synchronous online, or asynchronous online instruction.
In preparation for that possible scenario, our course has an embedded MS-Teams link on D2L.
COVID-19 illness
If you are feeling ill, please stay home and contact your health professional. In addition, please email
your instructor to say you are missing class due to illness. Signs of COVID-19 illness include, but are
not limited to, the following:
• Cough
• Fever of 100.4 or higher
• Runny nose or new sinus congestion
• Shortness of breath or difficulty breathing
• Chills
• Sore Throat
• New loss of taste and/or smell
COVID-19 vaccines are a critical tool in “Protecting the Nest.” If you have not already, you are
strongly encouraged to get vaccinated immediately to advance the health and safety of our campus
community. As an enrolled KSU student, you are eligible to receive the vaccine on campus. Please
6MUSI 4420 Fall 2021 Syllabus
call (470) 578-6644 to schedule your vaccination appointment or you may walk into one of our
student health clinics.
For more information regarding COVID-19 (including testing, vaccines, extended illness procedures
and accommodations), see KSU’s official Covid-19 website.
Performances
The Bailey School of Music is committed to broadening access to musical performances by making
its concerts available to live Internet audiences. By participating in this course, you hereby
acknowledge that the university may photograph, record, and/or broadcast, via live streaming or other
means, any public performances, rehearsals, or classes that you participate in, and you give
permission for any such use that is consistent with the university's non-profit status.University System
of Georgia health and safety guidelines.
Masks
Based on guidance from the University System of Georgia (USG), all vaccinated and unvaccinated
individuals are encouraged to wear a face covering while inside campus facilities. Unvaccinated
individuals are also strongly encouraged to continue to socially distance while inside campus
facilities, when possible.
ADA Position Statement
Kennesaw State University, a member of the University System of Georgia, does not discriminate on
the basis of race, color, religion, age, sex, national origin or disability in employment or provision of
services. Kennesaw State University does not discriminate on the basis of disability in the admission
or access to, or treatment or employment in, its programs or activities.
For more information, visit KSU’s Institutional Policies page.
Diversity Statement
Kennesaw State University prides itself on offering a premiere, personalized educational
experience for leadership and engagement within a diverse nation and world. This educational
experience is achieved through recognition and appreciation of the differing backgrounds and
experiences reflected within the University community. It is my intent that students from all diverse
backgrounds and perspectives be well served by this course, that students’ learning needs be
addressed both in and out of class, and that the diversity that students bring to this class be viewed
as a resource, strength and benefit.
Federal, BOR, & KSU Course Syllabus Policies
KSU Student Resources
This link contains information on help and resources, such as technology support and student
success support services that are available to students: KSU Student Support.
7MUSI 4420 Fall 2021 Syllabus
Course Schedule
Below is an outline of the content and activities in each unit of the course.
Week/Class Content Learning Activities (sample readings,
Dates listening, analysis and composition
assignments)
1: Aug 17, 19 Unit 1: Introduction, Approaches Introduction:
teaching Western Music Michael R. Rogers. Teaching Approaches in
Counterpoint Music Theory, Second Edition. 2004. pp. 64-
66, 224-225.
John D. White. Guidelines for College
Teaching of Music Theory, Second Edition.
2002. pp. 118-121.
Alfred Mann The Study of Counterpoint from
Johann Joseph Fux’s gradus ad Parnassum
Revised Edition. 1971. pp. 21-22.
Lester, Joel. Compositional Theory in the
Eighteenth Century. Harvard University Press,
1992.
• Chapter 2. Species Counterpoint and
Fux's Gradus (page 26)
Robert Hutchinson, Music Theory for the 21st-
Century Classroom
Preface (pugetsound.edu)
Benjamin, Thomas., and Johann Sebastian
Bach. The Craft of Tonal Counterpoint. 2nd
ed., Routledge, 2003.
• Notes to the Student
Listening: Palestrina mass excerpts (Naxos
Music Library)
2: Aug 24, 26 Unit 2: Introduction to Modal Fux (1st, 4th, 2nd Species)
Counterpoint (Fux/Species, Composition: 2-voice species writing
2 voices) Analysis: Species in select music examples
Robert Hutchinson, Music Theory for the 21st-
Century Classroom
Species Counterpoint (pugetsound.edu)
3: Aug 31, Unit 2: Introduction to Modal Fux (3rd, 5th/florid Species)
Sep 2 Counterpoint (Fux/Species, Composition: 2-voice species writing
2 voices) Analysis: Species in select music examples
8MUSI 4420 Fall 2021 Syllabus
4: Sep 7, 9 Unit 2: Introduction to Modal Fux (imitative writing, 3-voice counterpoint)
Counterpoint (Fux/Species, 2- Composition: 2-3-voice species writing
3 voices, imitative writing) Analysis: Species in select music examples
5: Sep 14, 16 Unit 3: Species in Tonal Music Readings, discussion, in class and assigned
analysis
Intro to Tonal Counterpoint
(Species in Baroque/Classical Benjamin, Thomas., and Johann Sebastian
tonality) Bach. The Craft of Tonal Counterpoint. 2nd
ed., Routledge, 2003.
Chapter 4: Composition of Binary Dance
Forms, Discussion section
Composing a melody
Harmonizing a melody
6: Sep 21, 23 Unit 4: Binary Dance Suite Benjamin, Thomas., and Johann Sebastian
Baroque Binary Forms/Dance Bach. The Craft of Tonal Counterpoint. 2nd
Suite ed., Routledge, 2003.
• Chapter 4 Composition of Binary Dance Forms
Dance Suites
Learning Activity: Key relationships for
Baroque dance suites
2-part Composition
7: Sep 28, 30 Unit 4: Binary Dance Suite Dance suite composition project
8: Oct 5, 7 Unit 4: Binary Dance Suite Performances and feedback
9: Oct 12, 14 Unit 5: Rudiments of Fugue Readings, discussion, analyses, model fugal
composition technique exercises
10: Oct 19, 21 Unit 5: Rudiments of Fugue Readings, discussion, analyses, model fugal
Unit 6: Fugue composition technique exercises
Benjamin, Thomas., and Johann Sebastian
Bach. The Craft of Tonal Counterpoint. 2nd
ed., Routledge, 2003.
• Chapter 10 Fugue I
o The Subject
o The Answer
o The Exposition
• Chapter 11 Fugue II
Robert Hutchinson, Music Theory for the 21st-
Century Classroom
Fugue Analysis (pugetsound.edu)
11: Oct 26, 28 Unit 6: Fugue Fugal composition project
12: Nov 2, 4 Unit 6: Fugue Student performances, peer feedback
13: Nov 9, 11 Unit 7: Counterpoint in Classical Readings, discussion, analysis
(Veteran’s Day) Repertoire (piano, lieder/art song, etc.)
14: Nov. 16, 18 Unit 8: Classical Model Brief Classical Form composition
Composition (i.e. Sentence/Period-based form)
Student presentations, peer feedback
N/A: Nov. 23, Fall semester break: Nov 22 – Student preparations for Final Project work
25 28 (M – Su)
9MUSI 4420 Fall 2021 Syllabus
15: Nov 30, Unit 9: Final Project In-class student preparations and consults for
Dec 2 final project
Final Exams: Unit 9: Final Project In-class student presentations, peer feedback,
Dec 7-13 invitation to disseminate final projects on
Digital Commons (Final written submission
due)
Anonymous end of semester feedback (Explorance Blue). Anonymous end of semester reflective
feedback writing item for KSU. Quality Enhancement Program It’s About Engagement.
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