User:Hucbald.SaintAmand/Western music theory
I open here a page that might in turn become the core of a revised "Music Theory" page. I thought however that it would be easier to leave aside for a while the matter of non-Western theory. Also, I may revise at the same time an existing French page on Théorie de la musique occidentale. This is not meant to be my page on this topic, everyone is eagerly invited to contribute. It is recommended also to have a look at User:Hucbald.SaintAmand/Music theory.
I make use of the < ref > system for biblioraphical references for two reasons: (1) I find this system more easy than any other, especially with the popups that show the notes whenever one "hovers" (passes over) their call, also because comments or quotations may be mixed with references; (2) I don't know how to implement other systems, such as the Harvard one which I find awful because it slows down the reading.
Music theory may be defined as the distanced observation of music.[1]. (For more details on this point, see Theory.) It focuses on musical facts and techniques, "on musical materials per se, in order to explain (and/or offer generalizations about) their various principles and processes".[2] As such, it differs from music philosophy, "the study of fundamental questions about the nature of music and our experience of it",[3] i.e. the ontology of music, or from aesthetics of music, more concerned with the beautiful in music and how we perceive it, and with value judgements about it.[4]
The present article concerns Western music theory, a decision taken to avoid problems with a broader definition and with questions raised by the possible existence of a prehistoric or oral theory. There is another article, Music Theory, which illustrates these problems (see also its talk page). That the present article is concerned with Western theory only in no way implies that this theory is more important than any other; some non-Western theories (e.g. Chinese) certainly predate the Occidental one, even in written form. However, because Occidental culture relied so much on writing, the corpus of Occidental theories probably is quantitatively much larger than any other, and much more easily accessible. But no conclusion can be drawn from this fact.
The same choice has been made in the article "Theory, theorists" in the New Grove, which states:
- The Western art music tradition is remarkable for the quantity and scope of its theory. The Bywantine, Arabic, Hebrew, Chinese and Indian traditions are also notable in possessing significant bodies of theoretical literature. Recently there has also been some theoretical treatment of jazz and other genres of popular music. This article, however, will deal exclusively with the Western art music tradition.[5]
Definitions[edit]
Claude Palisca defines theory as follows:
- The word 'theory' itself has broad implications. Its Greek root theōria is the noun form of the verb theōreō, meaning to inspect, look at, behold, observe, contemplate, consider. A theōros is a spectator, as at a festival or game. Etymologically, then, theory is an act of contemplation. It is observing and speculating upon as opposed to doing something.[6]
About music theory specifically, he adds that the field "has sometimes been called Musikwissenschaft, the science of music, or musicology". Several American universities however describe separate departments for "musicology" on the one hand, "music theory" on the other hand.[7]
David Lewin defined music theory as follows:
- THEORY attempts to describe the ways in which, given a certain body of literature, composers and listeners appear to have accepted sound as conceptually structured, categorically prior to any one specific piece. [...] Certain structural appercepts often appear to remain important and functional through a significant body of literature (triad, scale, etc.). And it is with the structure of such general sound universes that theory is concerned.
- Among the important appeals theory has made, historically are
- (1) An appeal to divine or natural law. [...]
- (2) An appeal to intellectual and systematic consistency. [...]
- (3) An empirical appeal to the practice of great composers. [...][8]
History of Western theory[edit]
- H. Riemann, Geschichte der Musiktheorie im IX.-XIX. Jahrhundert
- Th. Christensen ed., The Cambridge History of Western Music Theory
Antiquity[edit]
See also List_of_music_theorists#Antiquity
It may be necessary to question whether "Antique" theory (by which is meant Greece, probably) belongs to Western theory. The customary answer appears positive, but the question probably must be raised or, at least, mentioned. — Hucbald.SaintAmand (talk) 06:07, 12 October 2015 (UTC)
- O. J. Gombosi, Tonarten und Stimmungen der antiken Musik
- Th. J. Mathiesen, Apollo's Lyre. Greek Music and Music Theory in Antiquity and the Middle Ages
Middle Ages[edit]
See also List_of_music_theorists#Middle_Ages
- H. Abert, Die Musikanschauung des Mittelalters und ihre Grundlagen
Renaissance[edit]
See also List_of_music_theorists#Renaissance
- A.-E. Ceulemans and B. Blackburn ed., Music Theory and Analysis 1450-1650"
- C. C. Judd, Reading Renaissance Music Theory
Modern[edit]
See also List_of_music_theorists#17th_century; List_of_music_theorists#18th_century; List_of_music_theorists#19th_century
Contemporary[edit]
See also List_of_music_theorists#20th_century; List_of_music_theorists#21st_century
[These sections to be dealt with from the point of view of history, especially when they overlap topics.]
Theory by topics[edit]
Theory "can be divided into melody, rhythm, counterpoint, harmony and form, but these elements are difficult to distinguish from each other and to separate from their contexts. At a more fundamental level theory includes considerations of tonal systems, scales, tuning, intervals, consonance, dissonance, durational proportions and the acoustics of pitch systems. A body of theory exists also about other aspects of music, such as composition, performance, orchestration, ornamentation, improvisation and electronic sound production"[9]
Systems and scales[edit]
See Scale (music); Musical tuning; Musical system of ancient Greece.
Melody[edit]
- J. Smits van Waesberghe, A Textbook of Melody
- P. Narveson. Theory of Melody
- B. Szabolcsi, A History Of Melody
Counterpoint[edit]
- K. Jeppesen, Kontrapunkt
Harmony[edit]
Modality/Tonality[edit]
- P. Westergaard, An Introduction to Tonal Theory
- E. Agmon, The Languages of Western Tonality
Rhythm and Meter[edit]
- Ch. F. Hasty, Meter as Rhythm
Form[edit]
Analysis[edit]
Semiotics[edit]
- R. Monelle, Linguistics and Semiotics in Music
Notation[edit]
Tunings and Temperaments[edit]
- J. M. Barbour, Tuning and Temperament. A Historical Survey
Etc...[edit]
Notes[edit]
- ^ Plato, Republic, 5.18–20 (4736–4776), quoted in Th. Christensen, "Introduction", The Cambridge History of Western Music Theory, CUP, 2008, p. 2.
- ^ David Carson Berry and Scherman van Solkema, "Theory", The Grove Dictionary of American Music, 2nd edition, 2014, Online.
- ^ Andrew Kania, "The Philosophy of Music", The Stanford Encyclopedia of Philosophy (Spring 2014 Edition), URL = [1].
- ^ See for instance Eduard Hanslick, Vom Musikalisch-Schönen. Ein Beitrag zur Revision der Aesthetick der Tonkunst, Leipzig, Rudolph Weigel, 1854; The Beautiful in Music. A Contribution to the Revisal of Musical Aesthetics, Translated by Gustave Cohen, London, Novello, 1891.
- ^ Claude V. Palisca and Ian D. Bent. "Theory, theorists." Grove Music Online. Oxford Music Online. Oxford University Press, accessed October 24, 2015, [2]. See also Claude V. Palisca, "Theory, theorists", The New Grove, 1st edition, 1980, vol. 18, p. 741.
- ^ "Theory, theorists", The New Grove, 1st edition, p. 741; 2d edition online.
- ^ See for instance Indiana University, University of Michigan, Northwestern University, Boston University, University of Pittsburgh, etc.
- ^ David Lewin, "Behind the Beyond", Perspectives of New Music 7/2 (1969), pp. 61-62.
- ^ Claude V. Palisca and Ian D. Bent, "Theory, theorist", NG 1