Fall 2013 at The Master’s College, I’m scheduled not only to continue teaching my private composition students and directing the Chamber Strings (I’m plotting to throw them into some Tchaikovsky and Beethoven next!), but I’ve also been given the task of teaching two upper level classes: Tonal Counterpoint and 20th Century Analysis. Yay!!!
I’m really looking forward to setting these classes up and working through them with my students in the Fall. I’ve finally finished choosing my textbooks to be placed in the bookstore for the students enrolled in the classes, and I’ve started looking them over (or will, when the few that are still on their way arrive); this will be very fun and enlightening for all of us!
For Tonal Counterpoint, I’ve chosen:
- Modal and Tonal Counterpoint: From Josquin to Stravinsky by Harold Owen
- Since this is going to be the only counterpoint class offered, I’m going to introduce thestudents to both modal and tonal counterpoint; I like giving historical perspective, so they can see where we’ve been and where we are right now, and why. This textbook looks great so far!
For 20th Century Analysis, I’ve ordered:
- Understanding Post-Tonal Music (and the accompanying Anthology), by Miguel Roig-Francoli
- Modern Music and After by Paul Griffiths
- I finally decided on these three books only yesterday, so I’m really looking forward to reading through them. From their descriptions and the reviews I’ve read, they seem to be the perfect textbook set for students of largely Common Practice Era
Tonal-Sensibilities, to help them gain a greater understanding and appreciation for modern music of the 20th century and its development and culture!
- I finally decided on these three books only yesterday, so I’m really looking forward to reading through them. From their descriptions and the reviews I’ve read, they seem to be the perfect textbook set for students of largely Common Practice Era
