Teaching and Experiencing Counterpointin the Music Curriculum:

Playing and Understanding Through Performance

Dr. Martin LeeProgramme Leader of the Music Programme

Unit of Associate Degree StudiesThe Hong Kong Institute of Education

Redesigning PedagogyThinking: Time for a Rethink?

National Institute of Education, NTU, Singapore5th June 2013

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Background

1) Essential part of western music2) Taboo3) Limited pedagogical literature4) Limited instructional methodologies

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Problems

1) Can’t get the concepts of counterpoint and its operation2) Vicious circle

a) Dissemination of musical knowledgeb) Musical performance

3) Vertical aspect of chord in stead of horizontal interactions with voices

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Solution: Change and Emphasis in Music Curriculum

1) Revisiting counterpoint througha) Conceptb) Reinterpretation

2) Orchestral experience of counterpoint

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Applications in Courses and Music Activities:

1) Western Music History2) Materials and Techniques of Music3) Music Analysis4) Studio Pedagogy5) Conducting6) Weekly Choir/Ensemble Rehearsal

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Western Music History

1) Rise of polyphony in the Medieval period--Organum2) Renaissance period --> Common practice period3) Rather than abruptly “jumping” into Baroque period4) Natural evolution of organum

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Western Music History

5) Think in terms of lines rather than vertical block of notes6) Sense of cohesion via intervallic relationship7) Horizontal aspect is easily neglected in the music curriculum

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Materials and Techniquesof Music

1) Theoretical issue of counterpoint2) Species counterpoint

a) 1st species: note against noteb) 2nd species: 2 notes against 1 c) 3rd species: 4 notes against 1d) 4th species: syncopatione) 5th species: mixture of the above

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Music Analysis

1) Imitative counterpoint2) More complex musical relationship3) Analytical readings and assignments4) Strengthen and consolidate the theoretical concepts5) Shown in master composers’ works

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Studio Pedagogy

1) Importance of horizontal line, i.e.MELODY

2) Learning and teaching are simultaneous processes3) Active listening and trace the melodies4) Play with other musicians

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Choir/Ensemble/Orchestra:J. S. Bach Double Concerto

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Choir/Ensemble/Orchestra:J. S. Bach Orchestra Suite No. 2

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Choir/Ensemble/Orchestra:Mozart Missa Brevis in B-flat

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Conducting (Instrumental)

1) Listening2) Shaping3) Pointing out weaknesses and errors4) “3D” experience to oversee the counterpoint interactions among voices

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Conclusion

Performance becomes the

1) apotheosis, and2) destination

for students to understand counterpoint cultivated by composers

Thank you!