15th century counterpoint workshop
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Presentation
From the Middle Ages through the beginning of the 19th century the teaching of musical composition was based largely on the study of counterpoint, to which thoroughbass and subsequently string quartet writing were gradually added.
Towards the end of the 19th century, counterpoint, definitively cut off from contemporary musical creation, became not only a purely academic discipline in the negative sense of the term, but became subservient to harmony. It was henceforth impossible to turn to counterpoint, and subsequently fugue, without first having begun and indeed completed the study of harmony. The result was the division of the Paris Conservatory curriculum into mutually exclusive classes.
The logical consequence of the status held from then on by counterpoint in the curriculum of musical studies in the 20th century was increased awareness of the necessity of a return to the sources.
In the 1970s Gérard Geay at the Conservatory of the 10th Precinct in Paris put two simple ideas to experiment:
1) since conterpoint came about before harmony, let us begin music theory studies with counterpoint and early church tones, attempting to understand how harmony and classical tonality came forth from this beginning;
2) let us rediscover the study and practice of counterpoint such as they were when the latter was nothing other than contemporary music.
Method
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.
In order to understand the fine points of polyrhythmic patterns we need to master the system of four prolations inherited from the 14th century and to be able to sing from the manuscripts; knowledge of the church modes, solmisation, musica ficta and -not to be forgotten- prosody, is crucial to establishing a musical text that is, if not authentic, then at least plausible. To this end, while study of composition treatises and analysis of the works constitute an indispensible prerequisite, the practice of improvisation and theoretical knowledge enables us to have a glimpse into the composer’s very workshop, as the handsome expression of Prof. Wulf Arit puts it.
Instructions
Study and practice of the 15th century treatises (modes, solmisation, musica ficta, rhythm, counterpoint); analysis of works by Guillaume Dufay and his contemporaries; vocal improvisation upon cantus firmus (three-voice faubourdon); composition with words (chansons and motets) in early notation.
This workshop will take place on the premises of the François Lang Music Library, where participants will have access to all of the requisite documentation, presented and commented upon by guest specialists.
Faculty
Gérard Geay, teacher of theory
David Fallows, musicologist
Luca Ricossa, musicologist
Calendar
Audition
Selection by portfolio including resume and handwritten letter of motivation.
Sessions
from Thursday 13 January through Sunday 16 January 2011: the “contenance angloise”, faux-bourdon and three-part counterpoint
from Thursday 3 February through Sunday 6 February 2011: the polyphonic chanson
from Thursday 10 March through Sunday 13 March 2011: the motet
from Thursday 30 June through Sunday 3 July 2011: practical work (session open as well to the participants from 2009/2010)
for a total of 16 days of instruction
Public presentation
Fenêtre sur cour[s] on Sunday 3 July 2011
Places available for
> 6 participants.
Good level of basic musical training (ear training, sight-reading) : composers, musicologists, teachers of theory, early music performers.
No prior knowledge of 15th century music is required.
Fee Information
The cost-sharing fee is made up of a compulsory registration fee (including membership in the Association des amis de Royaumont and access to the François Lang Music Library), tuition, and boarding expenses.
An AFDAS agreement is pending for this session.
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 Pôle emploi office.
› 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 174 € remains at your expense.
Scholarships
Every year the 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, letter of motivation).
If you are eligible for this scholarship from the Association des amis de Royaumont, a total amount of 174 € 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 494 € remains at your expense, or for the “practical work” (30 June - 3 July) 254 €).