代做MUSC7470 Assessment – Fugue Semester 2 2024代做Python程序
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Semester 2 2024
See the MUSC7470 Course Profile section 6 for details about assessment for this course.
Three-part Fugue and accompanying written responses (weight: 40% of final course grade) Due date: 5 November 2:00 pm.
Upload a single pdf file to Blackboard containing your fugue and your written responses.
Include your name, student number, and the following statement: “This submission contains solely my own work.”
Summary (see below for detailed instructions) The project comprises three parts:
• PART 1: Composition of a complete three-part fugue in eighteenth-century style. utilising fugal resources presented in class.
• PART 2: An analytical overview of your fugue (word length: maximum 400). This should follow the
exemplars given in the course notes for different fugues studied in class (for example, Bach’s Fugue in D minor, WTC 1, week 11 class notes).
• PART 3: Written responses to assigned scholarly readings about fugue (word count: maximum 400).
Assessment Criteria
Your submission will be assessed according to the following criteria:
1. Demonstrates competence in all previously covered specific elements and general principles of counterpoint.
2. Demonstrates overall fluency in music writing with regard to general principles of Baroque fugue, including part-writing, tonal harmony & modulation, and overall structural planning.
3. Ability to incorporate the specific elements of Baroque three-part Fugue comprising real or tonal answers, episodes, middle entries and special devices such as stretto or augmentation.
4. Evidence of engagement with scholarly literature on fugal practice and historically-informed composition and an ability to synthesise key points in relevant literature.
5. Ability to structure written responses with logical sequencing of ideas, clarity of written expression, and accuracy of grammar and syntax.
6. Good scholarly practice as evidenced by accuracy and relevance of citations and references.
Detailed Instructions
PART 1: Composition of a complete three-part fugue in eighteenth-century style. utilising fugal resources presented in class.
• Either:
o Write a fugue on a subject of your choice. You should have discussed your fugue subject with your lecturer before composing your fugue.
• OR
o Write a fugue using the subject from the Week 11 class notes and using the score template provided later in this document (see below).
• Your fugue should have the following structure. (In other words, you will use this structure whether you compose a fugue on your own choice of subject or if you use the template given below).
o Exposition
o Episode 1
o Middle Entry in a new key
o Episode 2
o Final Entry in the home key.
• Do not use any of the countersubjects, free counterpoint, episodes, or middle entry material presented in the MUSC7470 class notes.
• Remember:
o The Exposition ends when the third voice states the subject (it does not need to also state the countersubject).
o An Episode is based on a short idea. For Episode 1, the idea is given in bar 13 of the template below.
o All three voices should state the subject in the Middle Entry.
o For Episode 2, you should use your own new idea.
o The Exposition, Middle Entry and Final Entry should have different orders of voice entries.
PART 2: Provide an analytical overview of your fugue (word length: maximum 400).
• This should follow the exemplars given in the class notes for different fugues studied in class.
o You should look, for example, in the Week 11 class notes for Bach’s Fugue in D minor, WTC 1.
• Your section headings should conform. to the structure of the fugue: Exposition – Episode 1 – Middle Entry – Episode 2 – Final Entry.
o Under each of these headings, write a short description that makes clear to the examiner what you are doing at each point in your fugue. Remember to give bar numbers!
o You can use the following abbreviations: S (subject), CS (countersubject), ME (middle entry).
• For the Exposition:
a) List the order of voice entries and state which voice (upper, middle, or lower) has the subject, answer or countersubject.
b) State if you use areal or tonal answer.
c) State if your countersubject works in invertible counterpoint at the octave with the subject.
d) State where free counterpoint occurs.
• For Episodes:
a) Describe the motivic idea used for the sequential pattern.
b) State if the circle of fifths or another pattern is used.
c) Explain how you move your motivic idea from voice to voice during the episode (or repeat it in the same voice only).
d) Describe the material in the other voices when they do not have the motivic idea.
e) Describe the chordal progressions in the episode, including any secondary dominants or chromatic chords.
• For the Middle Entry and Final Entry:
a) State the key.
b) List the order of voice entries and explain which voice has the subject, answer or countersubject.
c) State if you use areal or tonal answer.
d) State if you use the same countersubject that you used in the Exposition or if you use a new countersubject. If the CS is new, state if it uses invertible counterpoint.
e) Describe where you use any free counterpoint.
f) Describe your use of any advanced contrapuntal technique such as inversion, augmentation, stretto. NB use of these techniques is optional in your fugue.
• PART 3: Written responses to assigned readings about fugue (word count: maximum 400; that is, up to 100 words for each of the responses below).
o Remember that your answer should provide in-text citations (including page numbers) to each of the readings.
o Your submission should also include a Reference List with the two readings formatted according to the School of Music Style. Sheet (2024), available online.
o Reading responses 1: Paul Walker, “Introduction” (see the week 10 class notes). Questions:
a) According to Walker, why is it that “opinions vary regarding precisely what the essential characteristics of a fugue are?”
b) Why is Bach’s Fugue in C minor, Well-Tempered Clavier book 1, a good model to use for teaching the basics of fugue in a modern counterpoint class?
o Reading responses 2: Joseph Kerman, “Fugue in E Major, Well-Tempered Clavier book 2” (see the week 12 class notes). Questions:
• Kerman writes (77) that Bach “would never have chosen such a subject” for the Well-
Tempered Clavier unless he wanted to show how such a simple melody could be treated in a “supremely artistic” way through use of contrapuntal techniques. You should:
a) Explain how Kerman’s approach to fugal structure differs from what we have been doing so far in this class.
b) Pick a passage (section of the fugue) where you think that Kerman particularly
effectively describes the contrapuntal sophistication and artistic success of this fugue. Give a brief summary of the passage and say why you think Kerman’s discussion is effective.