Teachingand Experiencing Counterpointinthe Music培训课件.ppt

,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, ,, Teaching and Experiencing Counterpointin the Music Curriculum:Playing and Understanding Through PerformanceDr. Martin LeeProgramme Leader of the Music ProgrammeUnit of Associate Degree StudiesThe Hong Kong Institute of Education Redesigning Pedagogy Thinking: Time for a Rethink? National Institute of Education, NTU, Singapore 5th June 2013 Background 1) Essential part of western music 2) Taboo 3) Limited pedagogical literature 4) Limited instructional methodologies Problems 1) Can’t get the concepts of counterpoint and its operation 2) Vicious circle a) Dissemination of musical knowledge b) Musical performance 3) Vertical aspect of chord in stead of horizontal interactions with voices Solution: Change and Emphasis in Music Curriculum 1) Revisiting counterpoint through a) Concept b) Reinterpretation 2) Orchestral experience of counterpoint Applications in Courses and Music Activities: 1) Western Music History 2) Materials and Techniques of Music 3) Music Analysis 4) Studio Pedagogy 5) Conducting 6) Weekly Choir/Ensemble Rehearsal Western Music History 1) Rise of polyphony in the Medieval period--Organum 2) Renaissance period -- Common practice period 3) Rather than abruptly “jumping” into Baroque period 4) Natural evolution of organum Western Music History 5) Think in terms of lines rather than vertical block of notes 6) Sense of cohesion via intervallic relationship 7) Horizontal aspect is easily neglected in the music curriculum Materials and Techniquesof Music 1) Theoretical issue of counterpoint 2) Species counterpoint a) 1st species: note against note b) 2nd species: 2 notes against 1 c) 3rd species: 4 notes against 1 d) 4th species: syncopation e) 5th species: mixture of the above Music Analysis 1) Imitative counterpoint 2) More complex musical relationship 3) Analytical readings and assignments 4) Strengthen and consolidate the theoretical concepts 5) Shown in master composers’ works Studio Pedagogy