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75-621: In the 1940s a report examining music education in Europe and in Canada, compiled by Canadian composer Claude Champagne , was presented to the Quebec government by Champagne and Wilfrid Pelletier . The government decided to establish a network of state-subsidized schools modeled after European conservatories, particularly the Conservatoire de Paris . On 29 May 1942 The Conservatory Act ('Loi du conservatoire')

150-532: A singer in a choir , as a player in a youth orchestra , or as a performer on a solo instrument (e.g., piano , pipe organ , or violin ). Teens aspiring to be composers can continue their postsecondary studies in a variety of formal training settings, including colleges, conservatories, and universities. Conservatories , which are the standard musical training system in countries such as France and Canada, provide lessons and amateur orchestral and choral singing experience for composition students. Universities offer

225-401: A band collaborates to write a song, or in musical theatre , where the songs may be written by one person, the orchestration of the accompaniment parts and writing of the overture is done by an orchestrator, and the words may be written by a third person. A piece of music can also be composed with words, images, or, in the 20th and 21st centuries, computer programs that explain or notate how

300-426: A composition professor , ensemble experience, and graduate courses in music history and music theory, along with one or two concerts featuring the composition student's pieces. A master's degree in music (referred to as an M.Mus. or M.M.) is often a required minimum credential for people who wish to teach composition at a university or conservatory. A composer with an M.Mus. could be an adjunct professor or instructor at

375-515: A conventional Western piece of instrumental music, in which all of the melodies , chords , and basslines are written out in musical notation, the performer has a degree of latitude to add artistic interpretation to the work, by such means as by varying their articulation and phrasing , choosing how long to make fermatas (held notes) or pauses, and — in the case of bowed string instruments, woodwinds or brass instruments — deciding whether to use expressive effects such as vibrato or portamento . For

450-503: A new timbre. This effect is also used in orchestral arrangements; for instance, in Ravel 's Bolero #5 the parallel parts of flutes, horn and celesta resemble the sound of an electric organ. In counterpoint, parallel voices are prohibited because they violate the homogeneity of musical texture when independent voices occasionally disappear turning into a new timbre quality and vice versa. Some examples of related compositional techniques include:

525-565: A number of devices, including: Broadly speaking, due to the development of harmony, from the Baroque period on, most contrapuntal compositions were written in the style of free counterpoint. This means that the general focus of the composer had shifted away from how the intervals of added melodies related to a cantus firmus , and more toward how they related to each other. Nonetheless, according to Kent Kennan : "....actual teaching in that fashion (free counterpoint) did not become widespread until

600-441: A performer of Western popular music creates a "cover" of an earlier song, there is little expectation of exact rendition of the original; nor is exact faithfulness necessarily highly valued (with the possible exception of "note-for-note" transcriptions of famous guitar solos ). In Western art music, the composer typically orchestrates their compositions, but in musical theatre and pop music, songwriters may hire an arranger to do

675-473: A range of composition programs, including bachelor's degrees, Master of Music degrees, and Doctor of Musical Arts degrees. As well, there are a variety of other training programs such as classical summer camps and festivals, which give students the opportunity to get coaching from composers. Bachelor's degrees in composition (referred to as B.Mus. or B.M) are four-year programs that include individual composition lessons, amateur orchestra/choral experience, and

750-434: A school-room discipline," consisting of species counterpoint but with all the traditional rules reversed. First species counterpoint must be all dissonances, establishing "dissonance, rather than consonance, as the rule," and consonances are "resolved" through a skip, not step. He wrote that "the effect of this discipline" was "one of purification". Other aspects of composition , such as rhythm, could be "dissonated" by applying

825-544: A second voice is added. "The counterpoint in bars 5-8... sheds an unexpected light on the tonality of the Subject." : Bach 's 3-part Invention in F minor combines three independent melodies: According to pianist András Schiff , Bach's counterpoint influenced the composing of both Mozart and Beethoven . In the development section of the opening movement of Beethoven's Piano Sonata in E minor , Beethoven demonstrates this influence by adding "a wonderful counterpoint" to one of

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900-453: A sequence of courses in music history, music theory, and liberal arts courses (e.g., English literature), which give the student a more well-rounded education. Usually, composition students must complete significant pieces or songs before graduating. Not all composers hold a B.Mus. in composition; composers may also hold a B.Mus. in music performance or music theory. Master of Music degrees (M.mus.) in composition consists of private lessons with

975-438: A singer or instrumental performer, the process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their music are interpreting, just as much as those who perform

1050-627: A solo bassoon adds a counterpoint that has a similarly impromptu quality." In the Prelude to Richard Wagner 's opera Die Meistersinger von Nürnberg , three themes from the opera are combined simultaneously. According to Gordon Jacob , "This is universally and justly acclaimed as an extraordinary feat of virtuosity." However, Donald Tovey points out that here "the combination of themes ... unlike classical counterpoint, really do not of themselves combine into complete or euphonious harmony." One spectacular example of 5-voice counterpoint can be found in

1125-459: A tendency to cluster in specific cities throughout history. Based on over 12,000 prominent composers listed in Grove Music Online and using word count measurement techniques, the most important cities for classical music can be quantitatively identified. Paris has been the main hub for western classical music in all periods. It was ranked fifth in the 15th and 16th centuries but first in

1200-676: A university, but it would be difficult in the 2010s to obtain a tenure track professor position with this degree. To become a tenure track professor, many universities require a doctoral degree . In composition, the key doctoral degree is the Doctor of Musical Arts , rather than the PhD ; the PhD is awarded in music, but typically for subjects such as musicology and music theory . Doctor of Musical Arts (referred to as D.M.A., DMA, D.Mus.A. or A.Mus.D) degrees in composition provide an opportunity for advanced study at

1275-487: A very difficult time breaking through and getting the credit they deserve." During the Medieval eras, most of the art music was created for liturgical (religious) purposes and due to the views about the roles of women that were held by religious leaders, few women composed this type of music, with the nun Hildegard von Bingen being among the exceptions. Most university textbooks on the history of music discuss almost exclusively

1350-427: A voice or even an entire composition. Counterpoint focuses on melodic interaction—only secondarily on the harmonies produced by that interaction. Work initiated by Guerino Mazzola (born 1947) has given counterpoint theory a mathematical foundation. In particular, Mazzola's model gives a structural (and not psychological) foundation of forbidden parallels of fifths and the dissonant fourth. Octavio Agustin has extended

1425-444: A whole. Across cultures and traditions composers may write and transmit music in a variety of ways. In much popular music, the composer writes a composition , and it is then transmitted via oral tradition . Conversely, in some Western classical traditions music may be composed aurally—i.e. "in the mind of the musician"—and subsequently written and passed through written documents . In the development of European classical music ,

1500-530: Is called expanded when the added-part notes vary in length among themselves. The technique requires chains of notes sustained across the boundaries determined by beat, and so creates syncopation . A dissonant interval is allowed on beat 1 because of the syncopation created by the suspension. While it is not incorrect to start with a half note, it is also common to start 4th species with a half rest. Short example of "fourth species" counterpoint In fifth species counterpoint, sometimes called florid counterpoint ,

1575-531: Is descended from Latin , compōnō ; literally "one who puts together". The earliest use of the term in a musical context given by the Oxford English Dictionary is from Thomas Morley 's 1597 A Plain and Easy Introduction to Practical Music , where he says "Some wil [ sic ] be good descanters [...] and yet wil be but bad composers". "Composer" is a loose term that generally refers to any person who writes music. More specifically, it

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1650-473: Is often used to denote people who are composers by occupation, or those who work in the tradition of Western classical music . Writers of exclusively or primarily songs may be called composers, but since the 20th century the terms ' songwriter ' or ' singer-songwriter ' are more often used, particularly in popular music genres. In other contexts, the term 'composer' can refer to a literary writer, or more rarely and generally, someone who combines pieces into

1725-470: Is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance . The term "counterpoint" has been used to designate

1800-589: The Baroque music era, many composers were employed by aristocrats or as church employees. During the Classical period , composers began to organize more public concerts for profit, which helped composers to be less dependent on aristocratic or church jobs. This trend continued in the Romantic music era in the 19th century. In the 20th century, composers began to seek employment as professors in universities and conservatories. In

1875-447: The Latin punctus contra punctum meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: It is hard to write a beautiful song. It is harder to write several individually beautiful songs that, when sung simultaneously, sound as a more beautiful polyphonic whole. The internal structures that create each of the voices separately must contribute to

1950-636: The Renaissance period in European music, much contrapuntal music has been written in imitative counterpoint. In imitative counterpoint, two or more voices enter at different times, and (especially when entering) each voice repeats some version of the same melodic element. The fantasia , the ricercar , and later, the canon and fugue (the contrapuntal form par excellence ) all feature imitative counterpoint, which also frequently appears in choral works such as motets and madrigals . Imitative counterpoint spawned

2025-466: The Renaissance music era, composers typically worked for aristocratic employers. While aristocrats typically required composers to produce a significant amount of religious music, such as Masses , composers also penned many non-religious songs on the topic of courtly love : the respectful, reverential love of a great woman from afar. Courtly love songs were very popular during the Renaissance era. During

2100-418: The functional independence of voices is the prime concern. The violation of this principle leads to special effects, which are avoided in counterpoint. In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one and the parallel chords are perceived as single tones with

2175-438: The round (familiar in folk traditions), the canon , and perhaps the most complex contrapuntal convention: the fugue . All of these are examples of imitative counterpoint . There are many examples of song melodies that are harmonically interdependent yet independent in rhythm and melodic contour. For example, " Frère Jacques " and " Three Blind Mice " combine euphoniously when sung together. A number of popular songs that share

2250-427: The 17th to 20th centuries inclusive. London was the second most meaningful city: eighth in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eighth in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in

2325-422: The 20th century, composers also earned money from the sales of their works, such as sheet music publications of their songs or pieces or as sound recordings of their works. In 1993, American musicologist Marcia Citron asked, "Why is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from

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2400-429: The 20th century, such as John Cage , Morton Feldman , and Witold Lutosławski . The nature and means of individual variation of the music are varied, depending on the musical culture in the country and the time period it was written. For instance, music composed in the Baroque era , particularly in slow tempos, often was written in bare outline, with the expectation that the performer would add improvised ornaments to

2475-526: The cantus firmus is the lower part. (The same cantus firmus is used for later examples also. Each is in the Dorian mode .) In second species counterpoint, two notes in each of the added parts work against each longer note in the given part. Additional considerations in second species counterpoint are as follows, and are in addition to the considerations for first species: In third species counterpoint, four (or three, etc.) notes move against each longer note in

2550-495: The composer than other types of counterpoint and therefore is called a "strict" counterpoint. The student gradually attains the ability to write free counterpoint (that is, less rigorously constrained counterpoint, usually without a cantus firmus) according to the given rules at the time. The idea is at least as old as 1532, when Giovanni Maria Lanfranco described a similar concept in his Scintille di musica (Brescia, 1533). The 16th-century Venetian theorist Zarlino elaborated on

2625-517: The definition of composition is broad enough for the creation of popular and traditional music songs and instrumental pieces and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers . During the Middle Ages, most composers worked for the Catholic church and composed music for religious services such as plainchant melodies. During

2700-488: The emergent structure of the polyphony, which in turn must reinforce and comment on the structures of the individual voices. The way that is accomplished in detail is ... 'counterpoint'. Counterpoint has been most commonly identified in the European classical tradition , strongly developing during the Renaissance and in much of the common practice period , especially in the Baroque period . In Western pedagogy , counterpoint

2775-493: The faculty and as general secretary. Pépin was later appointed the school's third director in 1967. The violist Louis Bailly was also on the faculty and he founded Quatuor du Conservatoire in 1944, a string quartet in-residence at the CMQM during the mid-1940s. Originally the CMQM was entirely an instrumental program, but the school added a vocal music program in 1951 with courses in opera and choral music . Roger Filiatrault

2850-468: The finale to Mozart's Symphony No 41 ("Jupiter" Symphony). Here five tunes combine simultaneously in "a rich tapestry of dialogue": See also Invertible counterpoint . Species counterpoint was developed as a pedagogical tool in which students progress through several "species" of increasing complexity, with a very simple part that remains constant known as the cantus firmus (Latin for "fixed melody"). Species counterpoint generally offers less freedom to

2925-469: The following rules govern the combination of the parts: In first species counterpoint, each note in every added part (parts being also referred to as lines or voices ) sounds against one note in the cantus firmus. Notes in all parts are sounded simultaneously, and move against each other simultaneously. Since all notes in First species counterpoint are whole notes, rhythmic independence is not available. In

3000-517: The function of composing music initially did not have much greater importance than that of performing it. The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. In the Western world, before the Romantic period of the 19th century, composition almost always went side by side with a combination of either singing, instructing and theorizing . Even in

3075-482: The given part. Three special figures are introduced into third species and later added to fifth species, and ultimately outside the restrictions of species writing . There are three figures to consider: The nota cambiata , double neighbor tones , and double passing tones . Double neighbor tones: the figure is prolonged over four beats and allows special dissonances. The upper and lower tones are prepared on beat 1 and resolved on beat 4. The fifth note or downbeat of

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3150-503: The guidance of faculty composition professors. Some schools require DMA composition students to present concerts of their works, which are typically performed by singers or musicians from the school. The completion of advanced coursework and a minimum B average are other typical requirements of a D.M.A program. During a D.M.A. program, a composition student may get experience teaching undergraduate music students. Some composers did not complete composition programs, but focused their studies on

3225-552: The highest artistic and pedagogical level, requiring usually an additional 54+ credit hours beyond a master's degree (which is about 30+ credits beyond a bachelor's degree). For this reason, admission is highly selective. Students must submit examples of their compositions. If available, some schools will also accept video or audio recordings of performances of the student's pieces. Examinations in music history, music theory, ear training/dictation, and an entrance examination are required. Students must prepare significant compositions under

3300-555: The horizontal (linear) aspects over the vertical" is featured or the "harmonic control of lines is rejected." Associated with neoclassicism , the technique was first used in Igor Stravinsky 's Octet (1923), inspired by J. S. Bach and Giovanni Palestrina . However, according to Knud Jeppesen : "Bach's and Palestrina's points of departure are antipodal. Palestrina starts out from lines and arrives at chords; Bach's music grows out of an ideally harmonic background, against which

3375-532: The idea in his influential Le institutioni harmoniche , and it was first presented in a codified form in 1619 by Lodovico Zacconi in his Prattica di musica . Zacconi, unlike later theorists, included a few extra contrapuntal techniques, such as invertible counterpoint . In 1725 Johann Joseph Fux published Gradus ad Parnassum (Steps to Parnassus), in which he described five species: A succession of later theorists quite closely imitated Fux's seminal work, often with some small and idiosyncratic modifications in

3450-494: The integrity of the individual melodic lines is not sacrificed to harmonic considerations. "Its distinctive feature is rather the concept of melody, which served as the starting-point for the adherents of the 'new objectivity' when they set up linear counterpoint as an anti-type to the Romantic harmony." The voice parts move freely, irrespective of the effects their combined motions may create." In other words, either "the domination of

3525-402: The late nineteenth century." Young composers of the eighteenth and nineteenth centuries, such as Mozart , Beethoven , and Schumann , were still educated in the style of "strict" counterpoint, but in practice, they would look for ways to expand on the traditional concepts of the subject. Main features of free counterpoint: Linear counterpoint is "a purely horizontal technique in which

3600-414: The main themes. A further example of fluid counterpoint in late Beethoven may be found in the first orchestral variation on the " Ode to Joy " theme in the last movement of Beethoven's Symphony No. 9 , bars 116–123. The famous theme is heard on the violas and cellos , while "the basses add a bass-line whose sheer unpredictability gives the impression that it is being spontaneously improvised. Meantime

3675-494: The melody line during a performance. Such freedom generally diminished in later eras, correlating with the increased use by composers of more detailed scoring in the form of dynamics, articulation et cetera; composers became uniformly more explicit in how they wished their music to be interpreted, although how strictly and minutely these are dictated varies from one composer to another. Because of this trend of composers becoming increasingly specific and detailed in their instructions to

3750-400: The mid-20th century was Nadia Boulanger . Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts." Women today are being taken more seriously in the realm of concert music, though the statistics of recognition, prizes, employment, and overall opportunities are still biased toward men. Famous composers have

3825-539: The model to microtonal contexts. Another theorist who has tried to incorporate mathematical principles in his study of counterpoint is Sergei Taneyev (1856-1915). Inspired by Spinoza , Taneyev developed a theory which covers and generalizes a wide range of advanced contrapuntal phenomena, including what is known to the english-speaking theorists as invertible counterpoint (although he describes them mainly using his own, custom-built terminology), by means of linking them to simple algebraic procedures. In counterpoint,

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3900-417: The music of others. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice , whereas interpretation is generally used to mean the individual choices of a performer. Although a musical composition often has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when

3975-406: The next measure should move by step in the same direction as the last two notes of the double neighbor figure. Lastly a double passing tone allows two dissonant passing tones in a row. The figure would consist of 4 notes moving in the same direction by step. The two notes that allow dissonance would be beat 2 and 3 or 3 and 4. The dissonant interval of a fourth would proceed into a diminished fifth and

4050-439: The next note would resolve at the interval of a sixth. In fourth species counterpoint, some notes are sustained or suspended in an added part while notes move against them in the given part, often creating a dissonance on the beat, followed by the suspended note then changing (and "catching up") to create a subsequent consonance with the note in the given part as it continues to sound. As before, fourth species counterpoint

4125-435: The orchestration. In some cases, a pop songwriter may not use notation at all, and, instead, compose the song in their mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The study of composition has traditionally been dominated by the examination of methods and practice of Western classical music, but

4200-408: The other four species of counterpoint are combined within the added parts. In the example, the first and second bars are second species, the third bar is third species, the fourth and fifth bars are third and embellished fourth species, and the final bar is first species. In florid counterpoint it is important that no one species dominates the composition. Short example of "Florid" counterpoint Since

4275-422: The performance of voice or an instrument or on music theory , and developed their compositional skills over the course of a career in another musical occupation. Counterpoint In music theory , counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically interdependent yet independent in rhythm and melodic contour . The term originates from

4350-408: The performer, a culture eventually developed whereby faithfulness to the composer's written intention came to be highly valued (see, for example, Urtext edition ). This musical culture is almost certainly related to the high esteem (bordering on veneration) in which the leading classical composers are often held by performers. The historically informed performance movement has revived to some extent

4425-427: The possibility of the performer elaborating seriously the music as given in the score, particularly for Baroque music and music from the early Classical period . The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise . In genres other than classical music, the performer generally has more freedom; thus for instance when

4500-453: The present context, a "step" is a melodic interval of a half or whole step. A "skip" is an interval of a third or fourth. (See Steps and skips .) An interval of a fifth or larger is referred to as a "leap". A few further rules given by Fux, by study of the Palestrina style, and usually given in the works of later counterpoint pedagogues, are as follows. In the adjacent example in two parts,

4575-479: The received ' canon ' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. According to Abbey Philips, "women musicians have had

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4650-430: The role of male composers. As well, very few works by women composers are part of the standard repertoire of classical music. In Concise Oxford History of Music , " Clara Shumann [ sic ] is one of the only female composers mentioned", but other notable women composers of the common practice period include Fanny Mendelssohn and Cécile Chaminade , and arguably the most influential teacher of composers during

4725-449: The rules. Many of Fux's rules concerning the purely linear construction of melodies have their origin in solfeggio . Concerning the common practice era, alterations to the melodic rules were introduced to enable the function of certain harmonic forms. The combination of these melodies produced the basic harmonic structure, the figured bass . The following rules apply to melodic writing in each species, for each part: And, in all species,

4800-563: The same chord progression can also be sung together as counterpoint. A well-known pair of examples is " My Way " combined with " Life on Mars ". Johann Sebastian Bach is revered as one of the greatest masters of counterpoint. For example the harmony implied in the opening subject of the Fugue in G-sharp minor from Book II of the Well-Tempered Clavier is heard anew in a subtle way when

4875-447: The school formed a chamber orchestra and in 1989 a wind orchestra was established under the direction of Alain Cazes . In autumn 2001, the CMQM moved to its current location at 4750 avenue Henri-Julien. A major fire on December 7, 2005 seriously damaged the conservatory's facilities. The Government of Quebec restored the facilities at a cost of 46 million dollars, and the new premises opened in

4950-526: The school moved to facilities on Saint Catherine Street and then to larger ones at the Palais du commerce at 1700 Berri Street in 1964. In 1975 the conservatoire moved to the former building of the Palais de justice de Montréal , at 100 Notre-Dame Street which housed two electroacoustic studios, three rehearsal rooms, 11 practice studios, and 38 teaching studios. The building also contained two performance halls where

5025-596: The school's ensembles, students, and faculty performed public concerts: the Salle Gabriel-Cusson which seats approximately 200 people and the Salle Germaine-Malépart which seats 125. By 1991 the Conservatoire's music library contained more than 56,000 books and scores, 111 current periodicals, and over 10,000 audiovisual documents. Cellist Yuli Turovsky taught at the Conservatoire in the 1970s. In 1986

5100-441: The singer or musician should create musical sounds. Examples of this range from wind chimes jingling in a breeze, to avant-garde music from the 20th century that uses graphic notation , to text compositions such as Aus den Sieben Tagen , to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music , and is associated with contemporary composers active in

5175-413: The summer of 2008. 45°31′26″N 73°35′11″W  /  45.5239°N 73.5865°W  / 45.5239; -73.5865 Composer A composer is a person who writes music . The term is especially used to indicate composers of Western classical music , or those who are composers by occupation. Many composers are, or were, also skilled performers of music. The term

5250-440: The top ten rankings only in the 18th century and was ranked third most important city in both the 19th and 20th centuries. New York City entered the rankings in the 19th century (in fifth place) and stood at second rank in the 20th century. The patterns are very similar for a sample of 522 top composers. Professional classical composers often have a background in performing classical music during their childhood and teens, either as

5325-450: The voices develop with a bold independence that is often breath-taking." According to Cunningham, linear harmony is "a frequent approach in the 20th century...[in which lines] are combined with almost careless abandon in the hopes that new 'chords' and 'progressions'...will result." It is possible with "any kind of line, diatonic or duodecuple ". Dissonant counterpoint was originally theorized by Charles Seeger as "at first purely

5400-480: Was appointed the vocal program's first director, and teachers included Rachele Maragliano-Mori , Dick Marzollo , and Martial Singher . Around this same time the Orchestre du Conservatoire, a 65-player student orchestra, was formed. Among its directors have been conductors Raymond Dessaints , Charles Houdret , Roland Leduc , Rémus Tzincoca , and, since 1980, Raffi Armenian , the school's current director. In 1956

5475-619: Was passed by the Legislative Assembly of Quebec which allocated a $ 30,000 budget to form the CMADQ's first school, the Conservatoire de musique du Québec à Montréal (CMQM). The Conservatoire opened its doors in January 1943; at the time it was the first North American music institution of higher learning to be entirely state-subsidized. Orchestra conductor Wilfrid Pelletier served as the school's first director from 1943 through 1961; Champagne

5550-425: Was the CMQM's first teacher of harmony and counterpoint . Léon Barzin and Charles Houdret oversaw the first courses in orchestration and courses in music history , solfège , and music dictation were led by professors Gabriel Cusson , Alfred Mignault , Jean Papineau-Couture , and Isabelle Ria Lenssens among others. Clermont Pépin oversaw the music composition program and Jean Vallerand served on both

5625-1231: Was the first assistant director. The school's first classes were held at the Saint-Sulpice Library at 1700 Saint Denis Street and in nearby buildings. The first full academic school year began the following October with 175 students enrolled. Pelletier and Champagne hired an international staff which included bassoonist Simon Kovar and Louis Letellier ; cellists Jean Belland and Roland Leduc ; clarinetist Joseph Moretti ; double bass players Roger Charbonneau and Anselme Fortier ; flautists Hervé Baillargeon , René Le Roy , Arthur Lora , and Marcel Moyse ; harpist Marcel Grandjany ; horn players Harry Berv and Bernard Baker ; pianists Lubka Kolessa, Fleurette Beauchamp , Jean Dansereau , Auguste Descarries , Yvonne Hubert , Arthur Letondal , Germaine Malépart , Isidor Philipp , and Edmond Trudel ; oboists Harold Gomberg , Bruno Labate , and Michel Nazzi ; organists Joseph Bonnet and George M. Brewer ; percussionist Saul Goodman ; trombonist Charles Gusikoff ; and violinists Noël Brunet , Albert Chamberland , Camille Couture , Maurice Onderet , and Ethel Stark . Isabelle Delorme

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