Niels Berentsen

Counterpoint and Cantus super librum, towards a practical understanding of Renaissance music making

A large part of musical practice in the 15th and 16th centuries was not laid down in musical notation; The ability to improvise polyphony (called discantus, contrapunctus, cantus super librum or fauxbourdon) was deemed to be an essential skill for a singer. Despite this, counterpoint in conservatoires is generally still taught in a very writing-based manner, dating back to the 19th century, as opposed to a more oral way, based on practices coeval with the actual repertoire.

The research proposed is aiming at the investigation of Renaissance (ca 1400-1600) non-written polyphonic practice, the way it was taught and the influence it exercised on composed music (res facta.) Consequently practical application into current musical education and performance practice is considered; A method enabling the student and performer to both give a role to improvised polyphony in their performances of Renaissance music and better understand the style and construction of composed pieces.

Keywords: Improvisation, counterpoint, Renaissance music, musical education, performance practice