[Smt-talk] Strict-free, was: Doubling the tone of resolution

[Daniel Roca]

I agree very  much with Mr Väisälä's view on this. In fact, I am glad that Mr Meeús has made such an interesting and  unexpected twist on the previous subject.


El 09/11/2012, a las 08:45, Olli Väisälä escribió:

> Some comments to Nicolas's important questions:
> 
> (1) Where I teach, the tuition in the writing in historical styles is predominantly based on the analysis and emulation of  "real music." The interaction of analysis and writing is, to my experience, extremely fruitful for both aspects.

Also where I teach. In fact, we have been shifting from a strict "strict" method (which I learnt when I was a student) to an increasingly "freeer" approach, based on analysis and imitation of pieces instead of following predeterminated set of "rules" without context.

As I once wrote in this list, De la Motte's texts, showing how the "rules" are context´dependant, and that rules for Palestrina, Bach, Mozart and Schubert should be reformulated in each case (and that applies to harmony as well as counterpoint), have been enlightened for us in this regard.

I could almost go as far as to say that I don`t see any reason today to maintain "scholastic" texts if it weren't for Schenkerian analysis, that in my opinion proves the applicability of species counterpoint to "real music". And i don't see today no reason to use today the texts that Nicholas cites (that are very similar to the ones i knew back then). 

As I once mentioned, my one contribution to "harmony" textbooks is entirely based on analysis and stylistic imitation. Although it is not a "treatise" as such, but a set of teaching materials and word proposals that, in fact, every teacher should reformulate and adapt to his own's (or his pupils') interests.

> 
> (2) During the first year, however, two classic textbooks are used: Aldwell and Schachter's Harmony and Voice Leading, and Jeppesen's Counterpoint. Both provide rule-based exercises, but are in close relationship with "real music." Witness A&S's numerous "real music" examples and Jeppesen's expertise on Palestrina. 

I wonder if someone knows Thomas Danlel's great "Kontrapunkt" (I don't think there is a version in another language appart from German), where he reformulates, explains and document every rule in close relationship with analysis of "real music" (he focuses on Josquin`s vocal style. which he proposes as a better model for Renaissance vocal style than the more common Palestrina).

Thank you very much to Olli and Nicholas for bringing up such an interesting matter.

_________

Daniel Roca
Higher Conservatory of the Canary Islands
drocacan at gmail.com




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