Listening for Part 4: Exploring Counterpoint

A part of the coursework is to listen to a range of pieces by a number of composers from different periods. Part Four of the course is about the instrumental counterpoint, so my listening includes the Bach’s contrapuntal compositions and the 20th-century canons and fugues. This part also explores the definite-pitched percussion instruments. Click the links below to access the categories.

Instrumental counterpoint

Beside Bach’s fugues and inventions that the research point of the course material suggested, I listened to his other interesting contrapuntal pieces as well, such as duettos and the more free piano toccatas. I have also included the neo-classical reposes to the baroque counterpoint, for which there was a renewed interest in the 20th Century. I listed the canons and fugues of both the Hindemith’s German school of neo-classicism and the Shostakovich’s French tradition.

Definite-pitched percussion repertoire

The pieces are grouped according to the instruments they were composed for. These include xylophone, glockenspiel, marimba, vibraphone and timpani. Each instrument post includes unaccompanied and accompanied solo pieces, as well as interesting segments for the instrument from the ensemble/orchestra compositions.

For all the pieces, I include short writing with my thoughts and analysis. Although I was well-acquainted with Bach’s pieces, listening to the compositions from the genres I haven’t concentrated before was very insightful. The 20th-century canons and fugues on the other hand showed me how to experiment with these old forms. This really helped me in creating my assignment piece. Lastly, definite-pitched percussion family that I haven’t had the opportunity to inspect before, were a great addition to my evolving musical landscape. I have included my thoughts about all of this here.