Part 4: Exploring Counterpoint

Counterpoint and Dissonance

Further to my previous research and projects focused around counterpoint, I am keen to further explore the ways in which counterpoint can be used.   It seems that essentially, counterpoint can be thought of in two ways; the first as a strict study of rules and methodologies (i.e. species counterpoint); and the second, which is seen as the more creative method of devising two or more intertwining melodies regardless of harmonic value.  However, I question whether contrapuntal composition must incorporate both of these ideas, exploring both creative movement and harmonic rules simultaneously.  This idea is backed up by Belkin (2009), who states,

“…"strict" counterpoint can be useful. However, as the student advances, many of its pedagogical restrictions become stultifying constraints.”

(Belkin A. 2009)

Therefore, much like in my previous projects, I plan to experiment with both ideas surrounding counterpoint to see the varying results if a piece is composed entirely independently, entirely cohesively or incorporating both ideas.

Once again, in terms of dissonance, my previous studies of atonality and the use of dissonance in music have really opened my mind to challenging the constraints of the diatonic system.  From a very young age our ears are trained to respond positively to consonant tones and negatively to dissonant tones.  

“Preference for musical intervals of simple frequency ratios such as the octave, fifth and fourth, might simply reflect education or immersion and exposure to Western musical practices.”

 (Lots & Stone, 2008)  

Studies conducted by Zentner & Kagan (2008), using 4-month-old infants in their tests, seem to also reflect the same of the perception of consonance and dissonance in children.

“The origins of the perception of consonance and dissonance in music are a matter of debate. The present study examined the hypothesis of an innate preferential bias favoring consonance over dissonance by exposing 4-month old infants to consonant and dissonant versions of two melodies. Infants looked significantly longer at the source of sound and were less motorically active to consonant compared with dissonant versions of each melody. Further, fretting and turning away from the music source occurred more frequently during the dissonant than the consonant versions. The results suggest that infants are biologically prepared to treat consonance as perceptually more pleasing than dissonance.”

Zentner & Kagan (2008)

So, with this in mind, my inability to be able to ‘leave alone’ these dissonant tones could simply be a learnt behaviour from childhood which has shaped my understanding of music.  If this is the case, I will continue find it extremely difficult to be happy with any of my compositions that make use of dissonance as my brain will constantly tell me it is ‘incorrect’.  However, this said, I still plan to try and go against my musical grain to compose a mainly dissonant piece at some stage during this course, but possibly allowing for the structure of the more dissonant diatonic triads (augmented and diminished).

Tuned Percussion

I am really looking forward to using tuned percussion in future compositions because of its rhythmic, yet harmonic properties. I have listened to a number of solo and group compositions using some of the instruments listed to give me a further idea of their character.   These can be found in my listening log.