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Journal articles on the topic 'Music theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Hall, R. W. "MUSIC THEORY: Geometrical Music Theory." Science 320, no. 5874 (April 18, 2008): 328–29. http://dx.doi.org/10.1126/science.1155463.

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2

Biamonte, Nicole. "Online Music Theory in Music Theory Online." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 13, no. 2 (2016): 297–309. http://dx.doi.org/10.31751/903.

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3

Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system." Organised Sound 25, no. 1 (March 4, 2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.

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ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era music and contemporary electronic music; providing new and creative insights into the subject of topic theory and its potential for reappropriation within the sonic arts.
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4

Syamah, Sheehan Maulana, Yusnelli Yusnelli, and Bambang Wijaksana. "The Hearts Sound Of Victim (Electro Acoustic Music)." Musica: Journal of Music 2, no. 2 (November 30, 2022): 120. http://dx.doi.org/10.26887/musica.v2i2.3034.

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TThe Hearts Sound Of Victim merupakan sebuah komposisi musik multimedia yang berangkat dari sebuah fenomena sosial yaitu menjadi korban Bullying. Penciptaan karya ini bertujuan untuk mengungkapkan pengalaman empiris menjadi sebuah karya multimedia agar kejadian bullying tidak terjadi lagi di lingkungan sosial anak-anak dan sekolah. Karya musik multimedia ini digarap dengan Elektro Akustik Musik dan pendekatan experimental musik. Metode yang digunakan dalam proses penggarapan karya ini yaitu eksplorasi, ekperimentasi dan perwujudan. Selain dari pada itu untuk menjadi acuan pengkarya menggunakan beberapa teori diantarnya teori ekperimental music, teori Elektro Akustik Musik, teori musik programa dan teori musik sound design sebagai landasan dalam proses penggarapan. Karya ini akan digarap menjadi tiga bagian karya. Bagian pertama, mengekspresikan kondisi seorang anak yang tenang belum mengalami pembulian, bagian dua mengekspresikan kegiatan pembulian sedang terjadi dan bagian tiga mengekspresikan perasaan seseorang setelah mengalami pembulian.ABSTRACTThe Hearts Sound Of Victim is a multimedia music composition that departs from a social phenomenon, namely being a victim of bullying. The creation of this work aims to reveal empirical experiences into a multimedia work so that bullying does not happen again in the social environment of children and schools. This multimedia music work is done with Electro Acoustic Music and experimental music approach. The methods used in the process of making this work are exploration, experimentation and embodiment. Apart from that, as a reference, the authors use several theories including experimental music theory, Electro Acoustic Music theory, program music theory and sound design music theory as the basis in the cultivation process. This work will be divided into three parts. The first part, expresses the condition of a calm child who has not been bullied, part two expresses the bullying activity is going on and part three expresses one's feelings after being bullied.
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Zbikowski, Lawrence M. "Music Theory, Music History, and Quicksand." Music Theory Spectrum 33, no. 2 (October 2011): 226–28. http://dx.doi.org/10.1525/mts.2011.33.2.226.

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Anderson, Nancy K. "Music Learning Theory in General Music." General Music Today 8, no. 2 (January 1995): 17–21. http://dx.doi.org/10.1177/104837139500800206.

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7

Placek, Robert W. "Practical Music Theory." Music Educators Journal 72, no. 4 (December 1985): 8. http://dx.doi.org/10.2307/3400513.

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8

Boenn, Georg, Martin Brain, Marina De Vos, and John Ffitch. "Computational Music Theory." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 27–34. http://dx.doi.org/10.1609/aiide.v8i4.12559.

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One of the goals of the study of music theory is to develop sets of rules to describe different styles of music. By formalising these rules so that their semantics are machine intelligible, it is possible to use computers to reason about and analyse these rules -- computational music theory. Anton is an automatic composition system based on this approach. It formalises the rules of Renaissance Counterpoint using AnsProlog and uses an answer set solver to compose pieces. This paper discusses Anton, presenting the ideas behind the system and focusing on the challenges of modelling and synthesising rhythm.
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9

Lee, Gavin. "Queer Music Theory." Music Theory Spectrum 42, no. 1 (October 22, 2019): 143–53. http://dx.doi.org/10.1093/mts/mtz019.

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Abstract Queer musical phenomenology refers to the practice of disorientation away from established music theories, including one’s own. In Lewin’s “Phenomenology” article, queering can be understood as his intentional, self-critical, conceptual disorientations—first departing from Schenkerian theory, and then moving toward and finally away from the perception-model. Through a close reading of Lewin in combination with Sara Ahmed’s Queer Phenomenology, which offers a theory of embodied lives marginalized by pathways of normativity, I examine the generalizable application of theories such as queer phenomenology to another domain beyond gender and sexual embodiment: music theory at large. Lewin’s practice models a form of music theory that I regard as phenomenologically queer.
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10

Jones, Allan. "Music theory unravels." New Scientist 198, no. 2660 (June 2008): 21. http://dx.doi.org/10.1016/s0262-4079(08)61476-1.

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11

Rice, S. "Lutheran music theory." Early Music 37, no. 1 (February 1, 2009): 114–16. http://dx.doi.org/10.1093/em/can146.

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12

Weyrauch, Ilona. "Assessment in Music Education: Theory, Practice and Policy." Beiträge empirischer Musikpädagogik 12 (October 20, 2021): 1–3. http://dx.doi.org/10.62563/bem.v2021208.

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Vom 14.05.2021 bis 24.05.2021 fand das internationale Symposium ISAME (International Symposium on Assessment in Music Education) zum 8. Mal statt. Organisiert wurde es diesmal von der University of Florida und der Hochschule für Musik, Theater und Medien Hannover mit dem Leitungsteam Timothy S. Brophy (University of Florida), Andreas Lehmann-Wermser (Hochschule für Musik, Theater und Medien Hannover) und Marshall Haning (University of Florida).
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13

Loewe, J. A. "'Musica est optimum': Martin Luther's Theory of Music." Music and Letters 94, no. 4 (November 1, 2013): 573–605. http://dx.doi.org/10.1093/ml/gct133.

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14

Guilbault, Jocelyne. "Interpreting world music: a challenge in theory and practice." Popular Music 16, no. 1 (January 1997): 31–44. http://dx.doi.org/10.1017/s0261143000000684.

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This article focuses on the issue of meanings in ‘world music’ practices. The main questions addressed are how such musical cultures take on meanings, and what meanings are constructed by such cultures. As Deborah Pacini has indicated, the term ‘world music’ in this case does not refer to a musical genre. It is used, rather, ‘[as] a marketing term describing the products of musical cross-fertilisation between the north – the US and Western Europe – and south – primarily Africa and the Caribbean Basin, which began appearing on the popular music landscape in the early 1980s’ (1993, p. 48). From 1985, the expanding ‘world music’ umbrella has come to include practically any musics of cultures of non-European origin.
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15

Andini, Mustika, Reiza D. Dienaputra, and Widyo Nugrahanto. "Sakit Rindu: Romanticization of Manthous's Songs in Commodification Practices by Dapur Musik Project." Jurnal Seni Musik 12, no. 2 (December 31, 2023): 224–39. http://dx.doi.org/10.15294/jsm.v12i2.74766.

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The phenomenon of music cover in new media is now increasingly mushrooming, especially in Indonesia. Dapur Musik Project, as a keroncong music group consisting of young people, also works on cover versions of Manthous's songs, who is considered a predecessor to them. Sakit Rindu is one of Dapur Musik Project content that is most popular with the audience, as evidenced by the acquisition of million viewers. This research uses qualitative methods to analyze how Dapur Musik Project commodifies the songs composed by Manthous. In general, this research uses the framework of Adorno and Horkheimer (1944) which expresses the cultural industry theory, commodification theory put forward by Mosco (2009), and social practice theory or structural-constructive theory from Bourdieu's (1984) framework. The results of this research explain the commodification practices carried out by Dapur Musik Project in the realm of musicals and performances, as well as in the realm of packaging and marketing, with an attachment to industry and economic value. Dapur Musik Project also utilizes the symbolic power they have over relational relationships as the Manthous family in perpetuating commodification practices. The various changes in form, composition, packaging and strategy carried out by Dapur Musik Project are not considered renewal, but only a form of romanticization of Manthous's songs. Dapur Musik Project is an example of how youth people try to mediate the standardization polemic in keroncong music with their own roles and methods. This research annunciating the keroncong music community about the urgency of commodification practices in the discourse on the preservation and development of keroncong music in the Indonesian music scene.
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16

Ardiningsih, Dini. "Pengembangan game kuis interaktif sebagai instrumen evaluasi formatif pada mata kuliah teori musik." Jurnal Inovasi Teknologi Pendidikan 6, no. 1 (April 30, 2019): 92–103. http://dx.doi.org/10.21831/jitp.v6i1.17725.

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Penelitian ini bertujuan untuk menghasilkan sebuah game kuis interaktif sebagai instrumen evaluasi formatif pada mata kuliah teori musik dengan mengadaptasi sebuah game kuis The Impossible Quiz. Game kuis berisi pertanyaan dengan materi teori musik yang dilengkapi dengan ear training. Metode penelitian yang digunakan adalah metode Research and Development model ADDIE yaitu Analysis (analisis), Design (desain), Development (pengembangan), Implementation (implementasi) dan Evaluation (evaluasi). Penelitian dilakukan di Sekolah Tinggi Musik Bandung (STiMB). Kelayakan produk berdasarkan penilaian ahli materi, ahli media dan responden mahasiswa STiMB. Penilaian berupa lembar evaluasi yang meliputi empat aspek yaitu aspek materi, aspek pembelajaran, aspek tampilan dan aspek pemrograman. Secara keseluruhan rerata presentasi penilaian yaitu (1) aspek pembelajaran sebesar 79,67%, (2) aspek materi sebesar 87,81%, (3) aspek pemrograman sebesar 81,87%, dan (4) aspek tampilan game sebesar 85,15%. Dengan demikian dapat disimpulkan bahwa rerata penilaian di atas 80% yang berarti game kuis interaktif sangat layak dijadikan instrumen evaluasi formatif pada mata kuliah teori musik.Kata kunci: game kuis, the impossible quiz, interaktif, teori musik, ADDIEDeveloping interactive quiz game as formtive evaluation instrument of music theory subjectAbstractThis research was aim to produce an interactive game quiz as a instrument for formative evaluation of subject Music Theory adapted from The Impossible Quiz. The game consist of Music Theory learning materials and be equipped with ear training materials. This research was conducted by Research & Development method with ADDIE model which is Analysis, Design, Development, Implementation and Evaluation. All of research process were held at Sekolah Tinggi Musik Bandung (STiMB). Properness of the reasearch was evaluated by Music Theory expert, multimedia expert and students of Sekolah Tinggi Musik Bandung. Four aspects were have been evaluated by the respondents includes interface aspect, contents, learning materials and programming aspect. In average, learning materials got precentage of 79,67%, contents 87,81%, programming 81,87%, and interface aspect 85,15%. Those result conduct conclusion of 80% rating of this evaluation which means the game quiz are appropriate to become a instrument for formative evaluation on Music Theory subject.Keywords: quiz game, the impossible quiz, interactive, music theory, ADDIE
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17

Prada-Dussan, Maximiliano. "Connections between Theory and Practice of Music in Augustine." Folios, no. 59 (January 1, 2024): 224–32. http://dx.doi.org/10.17227/folios.59-13468.

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This article explores two types of connection between theory and practice of music in Augustinian philosophical thought. On a first account, during the early writings of this African author, especially in the dialogue De Musica, there is a disconnection between musical and the practice of music, in the sense that, while the former leads human beings to the spiritual, the latter fosters us to stay in the material realm. In his later writings, for example, in Enarrationes in Psalm, Augustine describes the practice of music through his sign theory, forming the second account of connection. In such description, he points out that the semantic content of the musical signs is done at the same time, being pragmatic. In this way, the rational encounter of what music actually means is transformed into practice: in the convergence of theory and practice of music. Finally, the article was made as a result of the doctoral research in Philosophy in Complutense University of Madrid.
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18

Neal, Jocelyn. "Popular Music Analysis in American Music Theory." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 1–2, no. 2/2–3 (2005): 173–80. http://dx.doi.org/10.31751/524.

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19

Rehding, Alexander. "Three Music-Theory Lessons." Journal of the Royal Musical Association 141, no. 2 (2016): 251–82. http://dx.doi.org/10.1080/02690403.2016.1216025.

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AbstractThis article is an attempt to understand music theory from the perspective of written and sounding media. It examines three radically different music-theoretical practices, which operate with different forms of written notation and different musical instruments, and have surprisingly different purposes in mind: the monochord-based theory of Franchinus Gaffurius (1518), the siren-based theory of Wilhelm Opelt (1834) and the piano-and-score-based theory commonly practised in our age. The instruments used in these three music theories hold the key to a fuller understanding: they can be understood as ‘epistemic things’ – that is, in producing sounds, these objects simultaneously produce knowledge about music. From a media-archaeological perspective, I suggest, these three music-theoretical practices stand emblematically for Pythagorean, digital and textual approaches to music.
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20

DEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE." Eighteenth Century Music 4, no. 2 (September 2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.

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The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.
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21

Gencheva, Margarita. "BOOKING THE MUSIC THEORY." Education and Technologies Journal 8, no. 2 (August 15, 2017): 219–20. http://dx.doi.org/10.26883/2010.172.323.

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22

Fisher, Alfred, John Shepherd, and Peter Wicke. "Music and Cultural Theory." Canadian Journal of Sociology / Cahiers canadiens de sociologie 24, no. 1 (1999): 141. http://dx.doi.org/10.2307/3341481.

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23

Reiner, David L. "Enumeration in Music Theory." American Mathematical Monthly 92, no. 1 (January 1985): 51. http://dx.doi.org/10.2307/2322196.

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24

Bowen, William R., Franchino Gaffurio, Walter Kurt Kreyszig, and Claude V. Palisca. "The Theory of Music." Journal of Music Theory 40, no. 1 (1996): 170. http://dx.doi.org/10.2307/843927.

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25

Oppenheim, Katharine Cartwright, and Gerhard Kubik. "Theory of African Music." Yearbook for Traditional Music 27 (1995): 141. http://dx.doi.org/10.2307/768111.

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26

Krims, Adam. "Music Theory as Productivity." Canadian University Music Review 20, no. 2 (March 4, 2013): 16–30. http://dx.doi.org/10.7202/1014455ar.

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The author here proposes Julia Kristeva's notion of "productivity" as a way of conceiving of the relations between different theories of music. By such a notion, rather than confirming, disconfirming, or exemplifying a theory, a particular musical work (or works) may redistribute the theory. The redistribution, in fact, might not only modify the initial theory—something certainly not original to productivity—but may also bring it into articulation with fundamentally opposed models of musical function, without which, nevertheless, the original theory remains incomplete. An extended example is adduced from Schubert's Schubert's Impromptu in G-flat Major, D. 899, in connection with, first, Schenker's Free Composition (Der freie Satz), and second, Schoenberg's Theory of Harmony (Harmonielehre); Schenker's inconsistent practice with respect to first-order neighbours, along with certain issues in the Impromptu, become the occasion for examining a case of productivity.
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27

Burkholder, J. Peter. "Music Theory and Musicology." Journal of Musicology 11, no. 1 (January 1, 1993): 11–23. http://dx.doi.org/10.2307/764148.

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28

Bergé, Pieter, Steven Vande Moortele, and Nathan John Martin. "Music Theory—and Analysis." Music Theory and Analysis (MTA) 1, no. 1 (October 1, 2014): 1–4. http://dx.doi.org/10.11116/mta.1.1.

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Burkholder, J. Peter. "Music Theory and Musicology." Journal of Musicology 11, no. 1 (January 1993): 11–23. http://dx.doi.org/10.1525/jm.1993.11.1.03a00030.

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30

Gloag, Kenneth. "Music and Cultural Theory." Music Analysis 18, no. 3 (October 1999): 436–44. http://dx.doi.org/10.1111/1468-2249.00103.

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Miller, Clement A., Franchino Gaffurio, Claude V. Palisca, and Walter Kreyszig. "The Theory of Music." Sixteenth Century Journal 26, no. 1 (1995): 198. http://dx.doi.org/10.2307/2541557.

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Vila, Pablo, John Shepherd, and Peter Wicke. "Music and Cultural Theory." Latin American Music Review / Revista de Música Latinoamericana 21, no. 2 (2000): 215. http://dx.doi.org/10.2307/780453.

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Danaher, William F., John Shepherd, and Peter Wicke. "Music and Cultural Theory." Contemporary Sociology 27, no. 3 (May 1998): 276. http://dx.doi.org/10.2307/2655194.

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Reiner, David L. "Enumeration in Music Theory." American Mathematical Monthly 92, no. 1 (January 1985): 51–54. http://dx.doi.org/10.1080/00029890.1985.11971535.

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Spieker, Matthew H. "AP Music Theory Applied." General Music Today 30, no. 1 (July 24, 2016): 16–19. http://dx.doi.org/10.1177/1048371316641462.

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Cohen, Joel E. "Information theory and music." Behavioral Science 7, no. 2 (January 17, 2007): 137–63. http://dx.doi.org/10.1002/bs.3830070202.

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37

Медушевский, В. В. "Performance Theory of Music." Музыкальная академия, no. 3(783) (September 29, 2023): 216–35. http://dx.doi.org/10.34690/334.

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Автор предлагает свой взгляд на теорию музыки, отмечая ее теснейшую связь с исполнительской практикой. Поднимаются вопросы о том, как воспитать чуткий слух музыканта-исполнителя, опираясь на тонкости гармонического анализа; раскрываются оригинальные понятия синергии и вероя­тия. Автор подчеркивает особую роль цезуры как важнейшего элемента музыкальной ткани, ее отличия от эмфатического акцента, глубинно связанного с гармонией. В статье выдвигаются критерии онтологизма в му­зыкальном произведении, а также в его интерпретации исполнителем. The author offers his own view on the theory of music and its closest connection with performing practice. Questions are raised about how to cultivate a sensitive ear of a performing musician, based on the subtleties of harmonic analysis, and original concepts of synergy and probability are revealed. The author emphasizes the unique role of caesura as an essential element of music, its difference from the emphatic accent, which is deeply connected with harmony. The article proposes criteria for ontologism in a piece of music and its interpretation by the performer.
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Hapitta, Okky Dwi, Yati Aksa, and Safrina Noorman. "MUSIK DAN SEKSUALITAS DALAM NOVEL DIE KLAVIERSPIELERIN KARYA ELFRIEDE JELINEK (Music and Sexuality in Elfriede Jelinek’s Novel “Die Klavierspielerin”)." METASASTRA: Jurnal Penelitian Sastra 8, no. 1 (March 10, 2016): 91. http://dx.doi.org/10.26610/metasastra.2015.v8i1.91-104.

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Musik banyak diangkat menjadi tema dalam karya-karya yang ditulis Jelinek. Dalam novel Die Klavierspielerin yang terbit tahun 1983, Jelinek mengangkat tema musik. Tulisan ini bertujuan untuk mengungkapkan fungsi musik dan keterkaitannya dengan seksualitas tokoh utama. Kajian ini dilandasi oleh teori fungsi musik yang dikemukakan Alan P. Merriam, teori seksualitas yang dikemukakan oleh Padgug, serta teori seksualitas yang berkaitan dengan relasi kuasa yang dikemukakan oleh M. Foucault. Hasil analisis menunjukkan bahwa di dalam novel tersebut terdapat fungsi musik sebagai representasi simbolis yang dijadikan sarana antar tokoh untuk saling menekan antara ibu terhadap Erika sebagai anak, Erika sebagai guru terhadap Klemmer sebagai murid. Musik juga memunculkan relasi kuasa yang mempengaruhi seksualitas Erika.Abstract: Music was mostly taken as a theme in many works written by Jelinek. In the Die Klavierspielerin novel published in 1983, Jelinek took theme of music. The study is aimed at revealing music function and its links with the main character’s sexuality. This study is based on music function theory introduced by Alan P. Merriam, sexuality theory introduced by Padgug, and sexuality theory concerning power relation introduced by M. Foucault. The results of analysis indicate that in the novel there are musical functions as symbolic representation used as a reference between characters to repress each other, such as, mother to Erika as a child, Erika as a teacher to Klemmer as a student.
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Shepherd, John, and Beverley Diamond. "Theory and Fieldwork." Canadian University Music Review 19, no. 1 (March 8, 2013): 4–18. http://dx.doi.org/10.7202/1014602ar.

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Abstracts John Shepherd This intervention suggests that the recent and welcome emergence of fieldwork as a prominent feature of much current work in popular music studies has deflected attention from an undertaking that characterized the early days of popular music studies: that of developing from within the various protocols of cultural theory concepts to explain the meanings, significances, and affects that music as a socially and culturally constituted form of human expression holds for people. In tracing a shift from theoretical to ethnographic concerns in work carried out in popular music studies by musicologists, ethnomusicologists, social anthropologists, and sociologists, it is suggested that a renewed emphasis on theory in musicological work in popular music studies may be of consequence for the academic study of music as a whole. Beverley Diamond In response to the editor's question concerning theory and fieldwork, this colloquy argues that the two are inseparable. Further, the importance of fieldwork in providing "alternative theory" which challenges the consistencies of academic thinking is emphasized. For this reason, the article eschews disciplinary history as a means of tracing important theoretical currents in music scholarship and, instead, presents arguments which confront the hegemonies of any history, any discourse of intellectual continuity, positing incidents which expose the social contingencies of theory.
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Adu-Gilmore, Leila. "Accessing marginalized musics through adaptable, culturally sustaining music technology modules." Journal of Popular Music Education 7, no. 3 (September 1, 2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.

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Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (performance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teaching resources for students with less finances and internet access can give access to STEAM (science, technology, arts and mathematics) and music creation. We recenter Black, Latinx and Indigenous musics and participatory music practices to expand music creation. Therefore, this research design offers a series of decolonizing music technology and creation prompts to adapt with local music practitioners as teaching-artists for community-specific teaching and learning.
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41

Link, Martin W. C. "Contemporary Music and Its Challenges for Music Theory." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 39–44. http://dx.doi.org/10.15294/harmonia.v18i1.13686.

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Contemporary music has found different ways in order to realize new methods of compositions in a process of indiviulazitation. Many of its phenomenons such as the abandonment of functional tonality have already been announced by composers such as Richard Wagner and during its development many scholars have come up with different systems in order to add something new to the existing material. The variety of new models such as the center tone-theory or open forms have a new challenge for music theory, which was used to give accurate definitions of a common denominator. This article wants to analyze those new methods and the importance to understand them in order to be able to give a clear analysis.
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42

Krumhansl, Carol L. "Music Psychology and Music Theory: Problems and Prospects." Music Theory Spectrum 17, no. 1 (April 1995): 53–80. http://dx.doi.org/10.2307/745764.

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43

Krumhansl, Carol L. "Music Psychology and Music Theory: Problems and Prospects." Music Theory Spectrum 17, no. 1 (April 1995): 53–80. http://dx.doi.org/10.1525/mts.1995.17.1.02a00030.

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44

Miceli, Jennifer Scott. "Music Learning Theory in High School General Music." General Music Today 8, no. 2 (January 1995): 14–16. http://dx.doi.org/10.1177/104837139500800205.

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45

Von Blumröder, Christoph. "Ende der Neuen Musik." Die Musikforschung 72, no. 3 (September 22, 2021): 201–13. http://dx.doi.org/10.52412/mf.2019.h3.44.

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The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.
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46

Laske, Otto. "Composition theory: An enrichment of music theory." Interface 18, no. 1-2 (January 1989): 45–59. http://dx.doi.org/10.1080/09298218908570537.

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47

BALENSUELA, C. MATTHEW. "The music theory booklet Balliol 173A, fols. 74r–81v: scribal organisation of an early medieval theory miscellany." Plainsong and Medieval Music 33, no. 1 (April 2024): 1–19. http://dx.doi.org/10.1017/s0961137124000032.

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AbstractUsing evidence of the quality of vellum, fascicle structure, scribal hands and illustrations, this article argues that the first fascicle of the music portion of Oxford, Balliol College, 173A (fols. 74–81) is a self-standing booklet, perhaps created to teach a scribe the basics of music theory and how to arrange text while leaving space for illustrations or examples. A new fascicle structure of the gathering is proposed that accounts for a previously unrecognised missing folio. An analysis of the contents of the gathering demonstrates that the theory booklet is a compilatio, with portions of the Musica disciplina (or it sources) acting as a frame to start and end the booklet, with other works (Pseudo-Jerome, Isidore of Seville and Cassiodorus) inserted in between. The final folios are completed with a number of small tractatuli, including the brief dialogue Diapason quid est? The contents of both the booklet and the entire music codex are closely paralleled in one of the smaller manuscripts collected into Oxford, St John's College 188 and also Cambridge, Trinity College R.15.22. While it will be ever easier to study digital images of manuscripts and to create critical editions of well-defined texts, this article argues for the continuing importance of codicological study of manuscripts in situ to coordinate the placements of texts within the structure of codices.
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MEWS, CONSTANT J. "Jerome of Moray: a Scottish Dominican and the evolution of Parisian music theory 1220–1280." Plainsong and Medieval Music 31, no. 2 (October 2022): 123–42. http://dx.doi.org/10.1017/s0961137122000092.

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ABSTRACTThis article examines the Tractatus de musica of Jerome of Moray (‘de Moravia’), affirming his Scottish identity, as proposed by Michel Huglo in 1994. It argues that the Tractatus de musica presents an important overview of Parisian music theory in the thirteenth century, relating to both chant and mensurable music in that century, because it combines the views of several generations: the Positio discantus vulgaris, which he says was used ‘among the nations’; the De mensurabili musica of John of Garland, who corrected its deficiencies; and the treatises of Franco of Cologne and Petrus Picardus. It considers Jerome's career in three phases: his exposure to music and music theory in Scotland; his studies in Paris, most likely under John of Garland, perhaps at the cathedral school of Notre-Dame; and his involvement in the liturgical reforms within the Dominican Order, implemented by its Master, Humbert of Romans in 1256. Rather than assigning Franco's Ars cantus mensurabilis to 1280 (as proposed by Wolf Frobenius) and Jerome's Tractatus to sometime after this, I suggest that Jerome was exposed to John of Garland's teaching in the 1240s and that the Franconian system may have started to gain ground in the 1250s. Jerome compiled his Tractatus over a period of time, adding an excerpt about cosmic music from the commentary of Thomas Aquinas on Aristotle's De caelo perhaps as early as 1271 or 1272, in response to the criticisms of John of Garland and his followers being made by Johannes de Grocheio.
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Calilhanna, Andrea, and Stephen G. Onwubiko. "Mathematical music theory of embodied acoustics of Ikoro music using beat-class theory." Journal of the Acoustical Society of America 146, no. 4 (October 2019): 2999. http://dx.doi.org/10.1121/1.5137386.

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Ewell, Philip. "Music theory à la Leningrad: an interview with Tatiana Bershadskaya." Contemporary Musicology, no. 4 (2019): 121–64. http://dx.doi.org/10.56620/2587-9731-2019-4-121-164.

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For over sixty years Tatiana Bershadskaya has played a central role in music and music theory in Russia. Specifically, she is the undisputed leader of the so-called “Leningrad School” of music theory, which arose in contradistinction to the strong influence of Moscow, and what is often called the “Moscow School,” in the twentieth century. For much of the twentieth century there was a certain tension between these two schools, with the more-famous Moscow School often outshining its northern counterpart. The Leningrad School traces its roots back to Boleslav Yavorsky, who worked primarily in and around Moscow, and had little to do with St. Petersburg. Yet both schools owe their existence, for the most part, to developments that took place in nineteenth-century St. Petersburg. Beginning with Rimsky-Korsakov, there was a strong pull toward harmonic functionalism in the works of Russian music theorists. This culminated in the works of Gregori Catoire, Igor Sposobin, and others, who essentially founded the “Moscow School” of music theory in Russia in the 1920s and 1930s. Bershadskaya represents another Russian music-theoretical tradition, which stemmed from the work of Yavorsky and, subsequently, Boris Asafiev, Christopher Kushnarev, and Yuri Tiulin, the latter two with whom she studied. In this work, in an introductory essay, the author contextualizes these two schools of music theory, and the role that Bershadskaya and her predecessors played in their formation. After the introductory essay the author offers an extensive interview that he conducted with Bershadskaya at her apartment invSt. Petersburg, from February 15, 2018, in which she discusses her life in and her views on music and music theory.
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