Theory, Literature, and Musicianship II

Music 100C, Spring 2007, UCSC

MWF 11:00-12:10
Music Center 138

Instructor: David Cope

office: 292 Music Center
phone: x3417
messages: x2951
e-mail: howell@ucsc.edu
website: http://arts.ucsc.edu/faculty/cope/music100C.html

Office hours: MWF 12:30-2:00 and by appointment

Musicianship Lab
Day, time, and location TBA

Teaching Assistants:

John Seales, Daniel Brown

Course Description
Music 100A presents an integrated and intensive approach to musicianship and theory. The
following skills receive emphasis:

ANALYSIS & COMPOSITION. 18th-century counterpoint in the manner of J.S. Bach,

including common two- and three-voice genres, with and without imitation.

MUSICIANSHIP. Sightsinging of materials featuring contrapuntal textures. Sightsinging

of melodies from the literature. Dictation from the literature coordinated with study of
harmony. Dictation of two- and three-voice counterpoint and full pianistic textures. At the
keyboard, sing/playing two- and three-voice textures. Sightreading of two- and three-voice
contrapuntal composition. Keyboard harmony including fluent modulatio. Conducting in all
standard patterns.

Course Materials
The following texts are available at the Bay Tree Bookstore on campus. You will use many
of them again in Music 100B and C. Handouts will supplement the materials listed here.
You should bring a pencil and music manuscript notebook to each class meeting.

Burkhart, Charles. Anthology for Music Analysis. 5th ed. Harcourt Brace, 1994.
Kostka, Stefan, and Dorothy Payne. Tonal Harmony. 3rd ed. McGraw Hill, 1995.
General Syllabus
The following plans are subject to change.

Week 1

Introductions, review of part-writing.

Week 2

Foundations of two-voice counterpoint

Week 3

Two-voice counterpoint analysis, free and imitative two-voice counterpoint.

Week 4

Two-voice canon due.

Week 5

Two-part invention due.

Week 6

Three-voice foundations, counterpoint analysis, free counterpoint. and fugue.

Week 7

Fugue analysis.

Week 8

Tonal imitation, stretto,

Week 9

Three-part fugue exposition due.

Week 10

Review.

Final Exam
6/12, 12-3 pm

Lab Final
TBA
Class conventions

EVALUATIONS. To pass the course, you must pass each component - theory, ear training,
and keyboard.

ATTENDANCE. More than five unexcused absences, from class and lab combined, will
result in a grade of NP.

WRITTEN WORK is generally evaluated on the following scale:

check+ Excellent

check Good

check- Fair

NP Unacceptable

Late Assignments will never receive a check+ , and the narrative evaluation will report if a
student's work is frequently late.

Collaborative Work. Working together on lab exercises is encouraged - it is a particularly

good way to improve recognition and dictation skills. However, weekly and larger theory
and composition assignments should be a student's individual work, and collaboration on
these assignments is not permitted.

Book Reserves in the Library (recommended supplemental reading)

Kennan, Kent. 1999. Counterpoint. MT55.K53

Bach, J. S. The Well-Tempered Clavier. (books 1 and 2)
M586.833 or M22B11w656
Bach, J. S. 1984. Inventions and Sinfonias. M22.B1115

Listening in the Library (recommended supplemental listening)

Selections for weeks before week 5

(1) Bourrées I and II (from cello suite no. 3, BWV 1009): John Williams, guitar
LCD3464
(2) Two-part Inventions
(#4 in D minor
#8 in F major
#12 in A major
#14 in B-flat major):
Ton Koopman, harpsichord LCD 3422
(3) 4 canons from A Musical Offering, arranged by Neville Mariner:
Academy of St. Martin-in-the-Fields LCD1762

Selections for weeks 5 and beyond

(1) Prelude and fugue in E minor, BWV 533: Nikolai Demidenko, piano LCD4200
(2) Prelude and fugue in D major, BWV 532: Nikolai Demidenko, piano LCD4200
(3) L'Art de la fugue, BWV 1080
Contrapunctus V and VI: Academy of St. Martin-in-the-Fields
LCD1762
Contrapunctus V and VI: Charles Rosen, piano LS2513
(4) Well-tempered clavier, part 1, Prelude and Fugue 2 in C minor (BWV 847):
Ralph Kirkpatrick, clavichord LCD3784
Well-tempered clavier, part 1, Prelude and Fugue 2 in C minor (BWV 847):
Glenn Gould, piano LS338
(5) Well-tempered clavier, part 1, Prelude and Fugue 6 in D minor (BWV 851):
Jeno Jandó, piano LCD2190
(6) Well-tempered clavier, part 2, Prelude 20 in A minor (BWV 889):
Ralph Kirkpatrick, clavichord LCD4432
(7) Well-tempered clavier, part 2, Prelude 11 in F major (BWV 880):
David Ng-Quinn, piano LR5160
(8) Fuga a 6 voci, in the arrangement for orchestra by Anton Webern:
Berliner Philharmoniker LCD 3545 (v1, I think?)
(9) Well-tempered clavier, part 1, Prelude 1 in C major (BWV 846):
Ralph Kirkpatrick, clavichord LCD3784
(10) Well-tempered clavier, part 1, Fugue 11 in F major (BWV 856):
Glenn Gould, piano LS338
(11) Well-tempered clavier, part 1, Prelude and Fugue 16 in G minor (BWV 861):
Jeno Jandó, piano LCD2190
(12) Well-tempered clavier, part 1, Fugue 21 in B flat major (BWV 866):
Colin Tilney, clavichord LCD528
(13) Well-tempered clavier, part 2, Prelude and Fugue 9 in E major (BWV 878):
Ralph Kirkpatrick, clavichord LCD4432
Colin Tilney, harpsichord LCD528
Glenn Gould, piano LSR518
(14) L'Art de la fugue, BWV 1080
Contrapunctus VII: Academy of St. Martin-in-the-Fields LCD1762
Contrapunctus VII: Charles Rosen, piano LS2513