scholarly journals The Language of Music, Music Theory for Non-Majors

2020 ◽  
Author(s):  
Danny Beard
Keyword(s):  
Music Theory ◽  
Music Notation ◽  
Roman Numeral ◽  
Schools Of Music ◽  
Language Of Music ◽  
Lead Sheet

The Language of Music, Music Theory for Non-Majors, is a textbook written to share the fundamentals of music notation with students outside of schools of music. Topics covered include rhythmic notation, meter and time signatures, pitch notation, scales, key signatures, intervals, triads and Roman numeral and lead sheet notation.

scholarly journals Representing Harmony in Computational Music Cognition

2020 ◽  
Author(s):  
Peter M. C. Harrison ◽  
Marcus Thomas Pearce
Keyword(s):  
Music Theory ◽  
Cognitive Modeling ◽  
Music Cognition ◽  
Object Oriented ◽  
Formal Models ◽  
Roman Numeral ◽  
Low Level ◽  
Cognitive Theories ◽  
High Level ◽  
Lead Sheet

Cognitive theories of harmony require unambiguous formal models of how listeners internally represent chords and chord progressions. Previous modeling work often uses representation schemes heavily reliant on Western music theory, such as Roman-numeral and lead-sheet notation; however, we argue that such work should be complemented by models using representations that are closer to psychoacoustics and rely less on Western-specific assumptions. In support of this goal, we compile a network of 13 low-level harmonic representations relevant for cognitive modeling, organised into three symbolic, acoustic, and sensory categories. We implement this collection of representations in an easy-to-use object-oriented framework written for the programming language R and distributed in an open-source package called hrep (http://hrep.pmcharrison.com). We also discuss computational methods for deriving higher-level representations from these low-level representations. This work should ultimately help researchers to construct high-level models of harmony cognition that are nonetheless rooted in low-level auditory principles.

Music Fluency

2017 ◽  
pp. 366-382
Author(s):  
Barbara Freedman
Keyword(s):  
Music Theory ◽  
Traditional Instruction ◽  
Music Teachers ◽  
Language Skills ◽  
Music Notation ◽  
Technology Students ◽  
Use Of Technology ◽  
Language Of Music

This chapter argues that music teachers should focus less on having students become readers and writers of standard music notation (i.e., literacy) and more on teaching whatever music “language skills” will allow them to freely communicate their ideas in music—that is, to have them become fluent in the language of music. The chapter also demonstrates how, when using software to facilitate music creation teaching, the piano keyboard and various graphical visualizations of sound help to teach and understand chord progressions, accompaniment patterns, bass lines from chords, melody writing, and music theory in ways more meaningful than traditional instruction. Through the intelligent use of technology, students who have never played piano or studied another instrument suddenly create, of their own volition, music of increasing sophistication.

scholarly journals What Are the Truly Aural Skills?

2021 ◽  
Vol 27 (2) ◽  
Author(s):  
Timothy Chenette
Keyword(s):  
Working Memory ◽  
Pilot Study ◽  
Music Theory ◽  
Aural Skills ◽  
Roman Numeral ◽  
Perceptual Skills ◽  
Knowledge Based ◽  
Current State ◽  
Traditional Curricula

I argue that current models of aural skills instruction are too strongly linked to music theory curricula. I examine harmonic dictation as a case study, demonstrating that the system of roman-numeral/inversion-symbol labels can interfere with our ability to determine what exactly students are hearing and can distract students from more directly perceptual goals. A pilot study suggests that focusing on bass lines and schemata may make our harmonic dictation training more relevant to perception. I propose that a skill is “truly aural” to the extent that it engages working memory with minimal knowledge-based mediation. Finally, I consider the current state of aural skills instruction and suggest a number of curricular revisions. The more radical proposals call for redesigning aural skills classes to focus on perceptual skills and relocating knowledge-mediated listening to the music theory classroom. Other proposals take a more measured approach to integrating perceptual skills with otherwise traditional curricula.

“And a Droplet Reflects the World.” Imaginary Discord in Modal Theory, and Modal Development in Small Forms and Fragments

10.34690/85 ◽  
2020 ◽  
pp. 52-73
Author(s):  
Евгений Борисович Трембовельский
Keyword(s):  
Binary System ◽  
Music Theory ◽  
Musical Form ◽  
Modal Theory ◽  
Modal Variation ◽  
The World ◽  
Schools Of Music ◽  
Methodological Principles

В данной статье рассматриваются принципы ладового развития в небольших произведениях и построениях. В избранных для анализа миниатюрной песне Листа «Радость и горе», четырехтактном фрагменте из «Хованщины» и ряде других образцов из музыки Шопена, Римского-Корсакова, Дебюсси, Слонимского, Лигети выявлены такие принципы модального и тонального становления, как сохранение или пополнение звукоряда, взаимодополняемость модусов, тональное и модальное модулирование, сбережение тона, модальная вариантность, отражение в формообразовании логики истории. В статье уточнены некоторые аспекты теории лада через призму концепций в области гармонии двух представителей санкт-петербургской и московской научных школ. Ощущение противоборства и непримиримости их трактовок создалось отчасти после острых формулировок Т. Бершадской: «Недоразумение, становящееся традицией»; «Изначальная ошибка популярной концепции». Автору данной статьи, внесшему некоторые корректировки и разъяснения, расхождения сторон представляются, однако, несущественными и даже мнимыми. Понимание лада как бинарной системы позволило в ладовом развитии выделить две его ветви - модальную и тональную, которые, как правило, находятся в тесном взаимосплетении при обычно определяющей роли одной из них. Предпринятые анализы произведений каждой из этих ветвей имеют различия, хоть они и направлены к осмыслению общих методологических принципов, которое для музыковедческой науки остается насущным. This article deals with the principles of modal development in short pieces and structures. The selected for the analysis Liszt's miniature song “Joy and Woe,” a four-beat fragment from “Khovanshchina” and a number of other examples from the music of Chopin, Rimsky-Korsakov, Debussy, Slonimsky, and Ligeti reveal such principles of modal and tonal formation as: preservation or enrichment of the scale, complementarity of the modes, tonal and modal modulation, preservation of tone, modal variation, reflection of the logic of history in creating the musical form. The article clarifies some aspects of the modal theory through the prism of the concepts in the field of harmony as presented by two exponents of St. Petersburg and Moscow schools of music theory. The sentiment of confrontation and irreconcilability of their interpretations was created, in part, by T. Bershadskaya's sharp statements: “Misunderstanding that becomes a tradition,” “The initial mistake of the popular concept.” However, the author of this article, having made some adjustments and clarifications, considers the differences between the parties rather insignificant and even imaginary. The understanding of mode as a binary system made it possible to distinguish two branches in modal development-modal and tonal, which, as a rule, are closely intertwined, with one of them usually playing a determining role. The undertaken analyses of the works by each of these branches have certain differences, although they are aimed at understanding the general methodological principles, which remain essential for musicology.

Learning music theory en passant: a study in an internationally recognised South African University student choir

2019 ◽  
Vol 37 (2) ◽  
pp. 155-168
Author(s):  
Michael Barrett ◽  
Roy Page-Shipp ◽  
Caroline van Niekerk ◽  
Johan Ferreira
Keyword(s):  
South African ◽  
Music Theory ◽  
Formal Education ◽  
Learning By Doing ◽  
University Student ◽  
Music Training ◽  
Rapid Learning ◽  
New Finding ◽  
Language Of Music ◽  
Theory Test

AbstractWhile mastery of aspects of music theory is relevant to rapid learning and understanding of a new choral part, many choirs comprise members with no formal education in music theory. Also, the language of music theory is not intuitive, with many terms having meanings different from those in common use, which can present obstacles for mature learners. The authors hypothesised that students joining an internationally recognised university choir might master aspects of music theory as a by-product of rehearsals. This was tested by having new admissions to such a choir complete a music theory test at the commencement and at the end of a year. The test evaluated the ability to name and write intervals and name notes and the duration of notes. Overall results did not reject the hypothesis. Subjects with no formal music training also showed most, and statistically significant, improvement in the questions related to intervals, which are arguably the most useful skills for choristers who do not sight-read. This appears to be a new finding: the literature shows occasional references to music theory skills, but their acquisition in a learning-by-doing style is not reported. Some insights into ways of enhancing choral performance are a by-product of the principal focus of the study.

scholarly journals The Evaluation of Music Teacher Candidates’ Awareness of Music Applications and Software, Their Frequency of Use and Purpose of Use

2019 ◽  
Vol 7 (10) ◽  
pp. 99
Author(s):  
Emrah Lehimler
Keyword(s):  
Music Education ◽  
Music Theory ◽  
Teacher Candidates ◽  
Grade Level ◽  
Music Performance ◽  
Music Teacher ◽  
Music Notation ◽  
Frequency Of Use ◽  
Department Of Music ◽  
Academic Year

The purpose of the study is to examine the music teacher candidates' awareness of music applications and software, their frequency of use and purpose of use in terms of gender and grade level variables. The study group consists of 452 students studying in department of music education in 6 universities in Turkey during the 2018-2019 academic year. In order to collect data, a two-part questionnaire developed by the researcher was used.According to the results of the research, it was seen that music teacher candidates who are aware of the existence of applications for music notation, applications containing instruments for music performance, applications for listening/watching music and applications for recording/mixing stage were quite high compared to those who were not aware. It was observed that the number of those who were not aware of the applications of instrument education, applications of choir/singing and applications of music theory and hearing education were higher than those who were aware. It was seen that the most commonly used applications were applications that include instruments for music performance and applications for listening/watching music. It was seen that applications for choir/singing, applications for instrument education, applications for music theory and hearing education, and applications for recording/mixing stage were rarely used.According to the results obtained from the research, applications for music theory and hearing education, applications for instrument education and applications that include instruments for music performance were mostly used for professional development. It was found that applications for writing notes were mostly used for homework. Applications for listening/watching music, recording / mixing stage and chorus/singing applications were mostly used for entertainment purposes.The results of the study showed that music teacher candidates were less familiar with applications and software especially for the performance aspect of music. According to the results, it can be said that music teacher candidates do not know music applications and software adequately.

Waltham Abbey (1540)

Tallis ◽  
2020 ◽  
pp. 21-30
Author(s):  
Kerry McCarthy
Keyword(s):  
Music Theory ◽  
Wall Painting ◽  
Sight Reading ◽  
British Library ◽  
Music Notation ◽  
The Third ◽  
Professional Musician ◽  
Last Judgment ◽  
Own Name

The third document of Tallis’s career shows him being sent away from Waltham Abbey, the last monastery dissolved in England, in March 1540. Tallis served the abbey as a professional musician, as he had done at Dover a decade earlier. He was the highest paid of more than sixty lay staff there. The Lady Chapel, where Tallis would have done much of his work, is still intact, including a large wall painting of the Last Judgment with angel musicians. Another precious survival from Waltham Abbey is a manuscript of music theory now in the British Library (Lansdowne 763), which Tallis took with him at his departure and inscribed with his own name. It is a comprehensive pre-Reformation guide to practical music: notation, sight-reading, improvisation, and simple composition.

Medieval Music Theory

2014 ◽  
Author(s):  
Jan Herlinger
Keyword(s):  
Middle Ages ◽  
Music Theory ◽  
Technical Writing ◽  
Arithmetic Geometry ◽  
Music Notation ◽  
The West ◽  
Handwritten Documents ◽  
Medieval Music ◽  
Musica Ficta ◽  
Medieval Music Theory

Medieval music theory encompasses technical writing on music from roughly 500 to 1450 ce—from the transmission to the West of ancient Greek music theory via the writings of Boethius and his contemporaries to the development of printing. It was disseminated principally in Latin (the primary language of intellectual discourse in the West) through handwritten documents, which remain its principal witnesses. The subjects of medieval music theory include fundamentals of music, notation of both pitch and rhythm, counterpoint, musica ficta, and modes. Medieval music theory has strong relations to other disciplines of the quadrivium (arithmetic, geometry, astronomy); to the institutions within which it flourished (church, monastic and cathedral schools, and—during the later Middle Ages—universities). It has strong ties to philosophy and theology and, of course, to music in practice. During the later Middle Ages, English, German, French, Italian, and other vernaculars became increasingly common in discourse on music, but they never overtook Latin.

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