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Modal Counterpoint: Renaissance Style, by Peter Schubert
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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, students are writing real compositions, not just drill exercises. The text also features progressively graded exercises, historical asides that explain important topics and issues of the period, and some notes in the preface on using the book in the classroom. Combining the historical accuracy of "style-oriented" texts with the more systematic species counterpoint approach, this book offers a unique alternative to other methods.
Now in its second edition, Modal Counterpoint, Renaissance Style integrates improvisation activities and new repertoire examples into many chapters; revises the chapter on three-part writing (Chapter 14) so that it pays more attention to rules and strategies; reworks the chapters on cadences (Chapter 10) and on writing two parts in mixed values (Chapter 11) to make them more accessible to students; incorporates clarified instructions throughout; and includes a summary of rules.
- Sales Rank: #838254 in Books
- Published on: 2007-12-18
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .90" w x 10.90" l, 1.85 pounds
- Binding: Spiral-bound
- 368 pages
Review
"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
"This is one of the most successful textbooks in any area of music I have used in sixteen years of university teaching. It is also remarkably well edited. Its format is both instructor- and student-friendly. This is a book of inspired musicality, pragmatic pedagogy, scholarship, and wit."--Jeff Perry, Louisiana State University
About the Author
Peter Schubert is Associate Professor in the Faculty of Music at McGill University, Montreal.
Most helpful customer reviews
0 of 0 people found the following review helpful.
I value Schubert's insights into teaching counterpoint to modern students.
By Hexagram of the Heavens
I admire this book quite a bit. I was disappointed to see the 3-star review with extensive errata listed, but it does not bother me excessively (other than to reinforce the point: proofread many times when you write! because these appear to be mostly typos and the result of an over-hasty production schedule.) The book has so much in its favor, I for one can live with the typos because I so value Schubert's insights into teaching counterpoint.
Schubert has extensive hands-on classroom experience teaching counterpoint, and has adapted the methods of species counterpoint for his own students who have often been, apparently, undergraduates with limited skills. He breaks down the virtual sea of minute and oppressive rules (Jeppesen in particular, among other authors, gives rules to hell and back) into very logical units, and his distinction between "hard" and "soft" rules is very welcome. He gives exercises with a two-note cantus firmus to allow the student to begin with baby steps.
Hence, my opinion is that this is a very valuable book precisely for those beginners who have found other counterpoint textbooks daunting.
A note to the student: Species counterpoint is a very artificial, although very valuable, practice. The rules vary from one author to the next like the local rules of some card games. Just play the game! It's fun - like sudoku for musicians. The rules conceal certain didactic goals, chief of which, IMO, is not to teach "Renaissance Style" - which happens to be the conventional "cover story" for this practice - but to teach some basic ideas about pure triadic harmony which are the grammatical bases of all tonal music in our tradition since c. 1500 up to and past jazz (whether they apply to 20th and 21st century atonal and post-tonal techniques I am not competent to say as I don't practice those styles).
10 of 10 people found the following review helpful.
Comprehensive introduction to Renaissance-style counterpoint
By klavierspiel
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.
2 of 2 people found the following review helpful.
Great textbook
By Lynnann Jean Wieringa
Easy to read, many many exercises, great approach to the subject. A lot of examples from the literature - this is especially helpful.
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