15th Century Counterpoint Workshop
> Method
> Faculty
> Calendar
Presentation
The connection between technique and style was particularly close in the 15th century, an era in which musical composition put forth stunning virtuosity without ever jeopardizing expression. Modern transcriptions rarely make it possible to unlock all of its mysteries. While study of the manuscripts, composition treatises and analysis of the works remain an indispensible prerequisite, the practice of improvisation and theoretical knowledge enable us to have a glimpse into the composer’s very workshop, as the handsome expression of Prof. Wulf Arit puts it.
In the 1970s Gérard Geay at the 10th Precinct Conservatory in Paris put two simple ideas to the test: › since counterpoint emerged prior to harmony, let us begin the study of music theory with counterpoint in the early modes and attempt to understand why harmony and classical tonality came forth from it; › let us also rediscover the study and practice of counterpoint such as they were when the latter was nothing other than contemporary music itself.
Goals of the instruction
A close connection between technique and style existed in the 15th century, an era in which musical composition exuded stunning virtuosity without ever sacrificing expression. Modern transcriptions rarely make it possible to penetrate all their mysteries.
To understand the subtleties of the polyrhythmic structures, we need to master the system of the four prolations inherited from the 14th century and be able to sing from the manuscripts; knowledge of the church modes, solmisation and musica ficta, without neglecting prosody, is crucial to establishing a musical text that is, if not authentic, then at least plausible.
For this, while study of composition treatises and analysis of the works constitute an indispensible prerequisite, the practice of improvisation and writing make it possible to have a look into the composer’s workshop, as the handsome expression of Prof. Wulf Arlt puts it.
Theoretical instruction
Study and practice of the 15th century treatises, analysis of the works of Guillaume Dufay and his contemporaries according to the manuscript sources.
Participants will be entitled on an auditor basis to attend certain classes of the Musica Nova ensemble devoted to the motets of Guillaume Dufay.
Practical instruction
Vocal improvisation on a cantus firmus (three-voice faux-bourdon), composition with words (chansons and motets) in early notation. This training will take place on the premises of the François-Lang library where the participants will have access to all the appropriate documentation.
Method
The classes are alternatively given as group instruction in workshop form, and individual instruction.
Faculty
Gérard Geay, musical advisor
David Fallows, musicologist
Luca Ricossa, musicologist
Lucien Kandel, singer and artistic director of Musica Nova
Calendar
Auditions
Selection is made by porfolio including a resumé and a handwritten letter of motivation.
Session
Thursday 28 January through Sunday 31 January 2010
Wednesday 17 February through Saturday 20 February 2010
Thursday 18 March through Sunday 21 March
for a total of 12 days of instruction
Public presentation
Fenêtre sur cour(s) on Sunday 21 March 2010
Places available for
Six workshop participants proficient in solfège (ear training, sight reading). No prior knowledge of 15th-century music is required.
This workshop is intended for any musician wishing to deepen his/her knowledge of 15th-century musical composition in general and that of Guillaume Dufy in particular, for instance composers, musicologists, teachers of music theory, history and analysis, and singers and instrumentalists working in early music performance practice, etc.
Fee information
The cost-sharing fee is made up of a compulsory registration fee, a compulsory membership in the Association des amis de Royaumont, tuition, and boarding expenses.
For this session a scholarship arrangement with the AFDAS is pending.
Financial aid for tuition
› for casual entertainment workers (intermittents du spectacle): through the AFDAS under the following conditions: 2 years in activity, 48 fee units (days) within France, as attested by payslips and Congés Spectacles certificates.
› for salaried employes (full or part time): via their employers’ continuing education programs.
› for the unemployed: instructions available from the local ANPE and/or ASSEDIC offices.
› for RMI beneficiaries: via authorities in each département (Conseil Général) – contact the appropriate services for further information.
If you are eligible for such financial assistance, a total amount of 150 € remains at your expense.
Scholarships
Every year L’Association des amis de Royaumont grants scholarships to artists under 29 years of age who do not yet have a regular professional activity.
This grant is made by a commission on the basis of a portfolio (resume, photo, letter of motivation).
If you are eligible for this scholarship from the Association des amis de Royaumont, a total amount of 150 € remains at your expense.
For participants who are not in a position to qualify for any other financial aid, the Foundation grants scholarship stipends on request and based on a portfolio.
If you are eligible for such financial assistance, a total amount of 390 € remains at your expense.