Further information

• assessment
  Other (There are seldom formal assessments. Mostly, the outcome of the course is presented in concerts.)
• level
  Beginner, Intermediate, Advanced, Expert
• Completed Semester
  The course can be started in any semester. It is helpful, but not absolutely necessary to have some experience in (written/analysed) counterpoint, ear training and singing.
• How many semesters does the course last?
  There is no fixed duration, it is rather an eternally ongoing course :-) Most students attend it several semesters or even years. In my opinion, it makes sense to participate at least 2 semesters. The course can be "used" as a class in historic composition techniques, there it lasts for 2 semesters.
• hours per week
  As we are often preparing concerts, there is usually a combination of 45-60 minutes introduction, learning and training of techniques and 90-120 minutes rehearsal in different settings (tutti, duets or trios, …)
• Link of the course
  https://hfm-wuerzburg.de/studium/angebot/ensembles/chanter-sur-le-livre https://musiktheorie.hfm-wuerzburg.de/projekte/chanter-sur-le-livre/uebersicht
• Target group of course
  Instrumentalists, advanced
  Music theory students, beginner
  Music theory students, advanced
  Other (basically all students. We regularly have many music education students in the course.)
• credits
  2
• Type of Course
  Practice
• Degree Level
  Bachelor, Master
• e-learning-elements
  online-compilations of materials and explanations; during Corona we also did synchronous online teaching via Zoom
• Course
  Optional
• students #
  6-15 students
• Hours per year
  Only I teach the course, it is 2-3 hours per week, we have 31 weeks of teaching per year
• BIBLIOGRAPHY
  - Banchieri, Adriano, Cartella Musicale, Venedig 1614. - Berentsen, Niels, »From Treatise to Classroom: Teaching Fifteenth-Century Improvised Counterpoint«, in: Journal of the Alamire Foundation 6/2 (2014), S. 221–242. - Blackburn, Bonnie J., »Masses on Popular Songs and on Syllables« in: The Josquin Companion, hg. von Richard Sherr, New York 2000. - Boquet, Pascale / Rebours, Gérard, 50 Renaissance & Baroque Standards. With Variants, Examples & Advice for Playing & Improvising on any Instrument, Bressuire 2007. Bornstein, Andrea, Two-Part Italian Didactic Music. Printed Collections of the Renaissance and Baroque (1521–1744), Bologna 2004. - Erhardt, Martin, Improvisation mit Ostinatobässen aus dem 16. bis 18. Jahrhundert, Magdeburg 2011. - Froebe, Folker, »Satzmodelle des ›Contrapunto alla mente‹ und ihre Bedeutung für den Stilwandel um 1600«, ZGMTH 4/1–2 (2007), S. 13–55. - Janin, Barnabé, Chanter sur le livre. Manuel pratique d’improvisation polyphonique de la Renaissance, Langres 2012. - Jans, Markus, »Ästhetische Implikationen der Satzlehre. In Tönen denken – über Töne nachdenken und reden«, in: Musiktheorie und Vermittlung. Didaktik · Ästhetik · Satzlehre · Analyse · Improvisation, hg. von Ralf Kubicek, Hildesheim, Zürich u. New York 2014, S. 155–166. - Lorenz, Ralph, »Canon as a Pedagogical Tool: Applications from Sixteenth-Century Wittenberg«, in: Indiana Theory Review 16 (1995), S. 83–104. - Rüdiger, Wolfgang, Ensemble und Improvisation. 20 Musiziervorschläge für Laien und Profis von Jung bis Alt, Regensburg 2015. - Schubert, Peter, »Counterpoint pedagogy in the Renaissance«, in: The Cambridge History of Western Music Theory, hg. von Thomas Christensen, Cambridge 2002, S. 503–533. - Stighäll, Daniel, »A Study in Early Improvisation. The Use of Renaissance Improvisation to bridge the written and unwritten Practices in Modern Music Education«, in: Journal of the Alamire Foundation 6/1 (2014), S. 221–242. - Wegman, Rob C. / Menke, Johannes / Schubert, Peter, Improvising Early Music. The History of Musical Improvisation from the Late Middle Ages to the Early Baroque, Leuven 2014.
• ONLINE CATALOGUE
  WITH CONTENTS
  
• evaluation grid
  
• evaluation grid
  and document