Relevant bibliographies by topics / Music theory Music theory Harmony

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music theory Music theory Harmony'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Music theory Music theory Harmony"

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Gjerdingen, Robert O. "Music Theory Pedagogy: What Paul Taught Nadia." Music Theory and Analysis (MTA) 6, no. 2 (October 30, 2019): 230–54. http://dx.doi.org/10.11116/mta.6.2.4.

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The teaching of harmony in the United States, if judged objectively, has been a massive failure, even though a dedicated corps of fine musician-scholars labors to impart the curriculum to eager if not always adequately prepared students. These students are taught "about" harmony, as if the topic were really about tonality or the imaginary desires of chords. The only students who can perform and create harmony at a professional level are those who learned such skills outside the academy. The situation was not always so bleak. Nadia Boulanger, for example, learned the art of harmony from her teacher at the Paris Conservatory, Paul Vidal. Even though she was not taught roman numerals or chord functions, she learned harmony as a performative art, as something to express what was implicit in a given melody or bass. The article describes what Paul taught Nadia, and how the incredibly high standards for crafting harmonic-contrapuntal musical fabrics at the Paris Conservatory could be mastered by students willing to memorize the intricacies of a centuries-old art.
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Harrison, Daniel, Ernst Levy, and Siegmund Levarie. "A Theory of Harmony." Journal of Music Theory 31, no. 2 (1987): 353. http://dx.doi.org/10.2307/843718.

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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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Rahn, Jay. ""Chinese Harmony" and Contemporary Non-Tonal Music Theory." Canadian University Music Review 19, no. 2 (March 1, 2013): 115–24. http://dx.doi.org/10.7202/1014452ar.

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Twentieth-century Chinese theorists and composers have developed a distinctively indigenous approach to harmony, based in part on earlier pentatonic traditions. Mixed as it is with conventions of diatonic and chromatic harmony imported from Europe and North America, the resulting "Chinese harmony" poses music-theoretical problems of coordinating diatonic and pentatonic scales, and tertial and quartal chords. A survey of Chinese harmony as expounded by Kang Ou shows these difficulties to be theoretically intractable within solely Chinese or Euro-American frameworks, but soluble through recent formulations in atonal—or more appropriately, non-tonal-theory, as advanced by such writers as John Clough.
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Alcorta, Candace S., Richard Sosis, and Daniel Finkel. "Ritual harmony: Toward an evolutionary theory of music." Behavioral and Brain Sciences 31, no. 5 (October 2008): 576–77. http://dx.doi.org/10.1017/s0140525x08005311.

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AbstractJuslin & Västfjäll (J&V) advance our understanding of the proximate mechanisms underlying emotional responses to music, but fail to integrate their findings into a comprehensive evolutionary model that addresses the adaptive functions of these responses. Here we offer such a model by examining the ontogenetic relationship between music, ritual, and symbolic abstraction and their role in facilitating social coordination and cooperation.
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Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.

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AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.
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Feitosa, Marco. "Partitional Harmony: The Partitioning of Pitch Spaces." MusMat: Brazilian Journal of Music and Mathematics IV, no. 2 (December 28, 2020): 01–27. http://dx.doi.org/10.46926/musmat.2020v4n2.01-27.

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In this preliminary work, we seek to present a brief historical review of the use of partitions in music, to provide a concise introduction to the theory of partitions, and lastly, through an extensive bibliographic revision and a thoughtful theoretical reflection, to lay the foundations of what we call partitional harmony - a comprehensive harmonic conception which relates the theory of partitions to several fields of post-tonal music theory. At the end, some basic operations (pitch, transposition, inversion, and multiplication) are defined and an illustrative musical application is provided, followed by our research prospects.
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Han, Siuebin. "Sang Tong’s contribution to the development of the national theory of harmony." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 61–76. http://dx.doi.org/10.34064/khnum1-50.05.

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Background. The article is devoted to the study of the scientific works of Sang Tong in the field of the national theory of harmony. His studies has a leading role in the development theoretical thought in the area of Chinese musicology and composition. Sang Tong’s contribution to national music education is determined by clarity of presentation of his teaching materials supported by numerous examples that is motivation for students to comprehend the science of composition. Being an outstanding composer, Sang Tong talentedly integrated the dissonant and pentatonic writing, emphasizing in his writings the national specifics due to atonal organization of music. The works of Sang Tong sounds abroad, they are performed on a concert stage, occupies a worthy place in the educational process of students of conservatories from different countries. In this connection, seems to be relevant the purpose of this article is to identify the main provisions of the theoretical works of the outstanding Chinese composer in the field of the national science of harmony and their role in the development of Chinese musical art in the second half of the 20th century. The mastering of this information is extremely necessary for the performers of San Tong music, as well as for teachers who are studying this musical repertoire in a class with students. Finally, the information presented will provide an opportunity to comprehend the artistic value of the musical heritage of Sang Tong, as well as allow attract more wide circles of professional musicians and audiences to his works. The results of the study. The first theoretical work of Sang Tong was the article “Theory of chord application and their subordination” (1957), where the musician analyzes the views of various authors on the problem of harmonization in composer’s work, systematizes them, giving a personal assessment. He gives many examples of the use of one or another composition tool. The composer considers methods of textural complexity in the study “Parallels to historical evolution and its application in Chinese and foreign musical works combined with pentatonic melody” (1963). In searching for his own composer’s writing, Sang Tong wanted to find the perfect textural balance: on the one hand, not reaching the difficult to perceive linear polyphony, on the other – not simplifying the texture into primitive forms of contrasting polyphony (as a variation of heterophony). The research experience of the 1960s and the 70s Sang Tong summarized in the monograph “Discussion on the horizontal and acoustic structure of pentatonic” (1980), which became a quality-teaching tool in the field of secondary music education. University vocalists also study at lectures on harmony, which helps them to expand the horizons of knowledge about national music. In 1982, Sang Tong published the first comprehensive study of contemporary music in China entitled “Introduction to harmonic processing techniques” in the journal Musical Art. Since 1994, Sang Tong planned to write a fundamental work that sums up his research – the ontology of Chinese music, but from year to year, because of illness, postponed it. Finally, in 2004, the Shanghai Music Publishing House published a series of Sang Tong articles in the form of a monograph “The Historical Evolution of Semitones”. This work is a fundamental study of the history of the development of harmony in China, which provides answers to the questions of the evolution of Chinese semantics and, related to it, the theory of the acoustics of Chinese instruments. Thinking about the quality of secondary music education, Sang Tong decided to prepare a textbook for an initial five-year program of study. In 2001, he published the Harmony Course, submitting it to the state commission for consideration as a school textbook. The San Tong’s Course of Harmony has become a basic national textbook in China. To date, the level of this theoretical work is considered unsurpassed and attributed to masterpieces in the field of music education. It is distinguished by a solid theoretical foundation that allows the students to find any answers to questions concerning the principles of voce-leading, transport, rules of resolution of various intervals. Conclusions. The composer and theorist Sang Tong entered the history of Chinese music of the twentieth century as the founder in the field of the modern national theory of harmony. For more than fifty years of academic research, Sang Tong has made an outstanding contribution to the development of theory of harmony in China, was creating a number of musicological studies of harmony that demonstrate the highest theoretical level. He laid a solid foundation for the future development of the national school of harmony theory, bringing the younger generation of Chinese composers to a high professional level.
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Braun, Yehezkel. "Traditional Harmony Reconsidered." British Journal of Music Education 3, no. 1 (March 1986): 49–61. http://dx.doi.org/10.1017/s026505170000512x.

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The author questions conventional attitudes to harmony teaching and describes his own approach based upon a careful observation of harmonic usage in masterworks. In particular he seeks to establish a view of chords as musical entities in their own right, not ‘group-related’ by principles such as ‘inversion’ but possessing a variety of possible functions arising from musical context rather than from established and immutable harmonic theory.
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Ashton-Bell, Robert Linton Tavis. "On the Geometric Realisation of Equal Tempered Music." Mapana Journal of Sciences 18, no. 3 (July 1, 2019): 53–75. http://dx.doi.org/10.12723/mjs.50.5.

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Since the time of Pythagoras (c.550BC), mathematicians interested in music have asked, “What governs the whole number ratios that emerge from derivations of the harmonic series?” Simon Stevin (1548-1620) devised a mathematical underlay (where a semitone equals 21/12) that gave rise to the equal temperament tuning system we still use today. Beyond this, the structure of formalised musical orderings have eluded many of us. Music theorists use the tools and techniques of their trade to peer into the higher-order musical structures that underpin musical harmony. These methods of investigating music theory and harmony are difficult to learn (and teach), as complex abstract thought is required to imagine the components of a phenomenon that cannot be seen. This paper outlines a method to understanding the mathematical underpinnings of the equal tempered tuning system. Using this method, musical structure can be quantitatively modelled as a series of harmonic elements at each pulse of musical time.
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Dissertations / Theses on the topic "Music theory Music theory Harmony"

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Brister, Michael. "Negative Harmony: Experiments with the Polarity in Music." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/507.

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I set out to experiment and justify the use of a new theory called Negative Harmony in 21st century music. Negative Harmony is a musical avenue from which composers can glean new tones within traditional music theory rules. I took inspiration from the current leading authority on the topic, Jacob Collier, as well as older scholars from the 20th century, such as Ernst Levy and George Rochberg. I conducted research on the theory by finding its relation to major and minor chords, and how these mirrored chords worked from a theory standpoint. I then composed two original works, one piano piece and one piece for SATB choir and piano. I aimed to find the best balance between the unfamiliar negative chords and the familiar positive chords. I then looked to justify the use of this theory through the writings of scholars and modern music listeners and casual music makers.
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Rehding, Alexander. "Nature and nationhood in Hugo Riemann's dualistic theory of harmony." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343248.

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Carter, Paul Scott. "Retrogressive Harmonic Motion as Structural and Stylistic Characteristic of Pop-Rock Music." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116202928.

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Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.

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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Strohman, Gregory. "Psychoacoustic Entropy Theory and Its Implications for Performance Practice." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281332.

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Music Performance
D.M.A.
This dissertation attempts to motivate, derive and imply potential uses for a generalized perceptual theory of musical harmony called psychoacoustic entropy theory. This theory treats the human auditory system as a physical system which takes acoustic measurements. As a result, the human auditory system is subject to all the appropriate uncertainties and limitations of other physical measurement systems. This is the theoretic basis for defining psychoacoustic entropy. Psychoacoustic entropy is a numerical quantity which indexes the degree to which the human auditory system perceives instantaneous disorder within a sound pressure wave. Chapter one explains the importance of harmonic analysis as a tool for performance practice. It also outlines the critical limitations for many of the most influential historical approaches to modeling harmonic stability, particularly when compared to available scientific research in psychoacoustics. Rather than analyze a musical excerpt, psychoacoustic entropy is calculated directly from sound pressure waves themselves. This frames psychoacoustic entropy theory in the most general possible terms as a theory of musical harmony, enabling it to be invoked for any perceivable sound. Chapter two provides and examines many widely accepted mathematical models of the acoustics and psychoacoustics of these sound pressure waves. Chapter three introduces entropy as a precise way of measuring perceived uncertainty in sound pressure waves. Entropy is used, in combination with the acoustic and psychoacoustic models introduced in chapter two, to motivate the mathematical formulation of psychoacoustic entropy theory. Chapter four shows how to use psychoacoustic entropy theory to analyze the certain types of musical harmonies, while chapter five applies the analytical tools developed in chapter four to two short musical excerpts to influence their interpretation. Almost every form of harmonic analysis invokes some degree of mathematical reasoning. However, the limited scope of most harmonic systems used for Western common practice music greatly simplifies the necessary level of mathematical detail. Psychoacoustic entropy theory requires a greater deal of mathematical complexity due to its sheer scope as a generalized theory of musical harmony. Fortunately, under specific assumptions the theory can take on vastly simpler forms. Psychoacoustic entropy theory appears to be highly compatible with the latest scientific research in psychoacoustics. However, the theory itself should be regarded as a hypothesis and this dissertation an experiment in progress. The evaluation of psychoacoustic entropy theory as a scientific theory of human sonic perception must wait for more rigorous future research.
Temple University--Theses
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Debbeler, Judith. "Harmonie und Perspektive : die Entstehung des neuzeitlichen abendländischen Kunstmusiksystems /." München : Epodium-Verlag, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3005348&prov=M&dok_var=1&dok_ext=htm.

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Lisius, Peter H. "Core Sources on Harmony as Represented in Ohio Institutions: A Survey of Representative Sources Found in OhioLINK Libraries Associated with NASM-Accredited Music Programs." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1301330356.

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Hoegberg, Elisabeth Honn. "From theory to practice : composition and analysis in Marin Mersenne's Harmonie universelle /." Electronic version Electronic version, 2005. http://proquest.umi.com/pqdweb?did=885688441&sid=2&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Thesis (Ph. D.)--Indiana University, 2005.
Computer printout. Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0404. Chair: Frank Samarotto. Includes bibliographical references (leaves 407-419), abstract, and vita.
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Derfler, Brandon Joel. "Single-voice transformations : a model for parsimonious voice leading /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11418.

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Books on the topic "Music theory Music theory Harmony"

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Mark, Harrison. Contemporary music theory. Milwaukee: Hal Leonard, 2001.

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Nettles, Barrie. The chord scale theory & jazz harmony. [S.l.]: Advance Music, 1997.

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Hayward, Brenda. Harmony: A progressive look at music theory. Ely: Music Maker Books, 1993.

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Kacprzyk, Janusz. Music-Inspired Harmony Search Algorithm: Theory and Applications. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009.

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Roig-Francolí, Miguel A. Harmony in context. 2nd ed. New York: McGraw-Hill, 2011.

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Harmony in context. 2nd ed. New York: McGraw-Hill, 2011.

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1955-, Nicholls David, ed. New musical resources. Cambridge [England]: Cambridge University Press, 1996.

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Berle, Arnie. Theory & harmony for the contemporary musician. New York: Amsco Publications, 1996.

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Xian dai he sheng yue li ying yin jiao xue: Contemporary harmony theory. Tai zhong shi: Ku pai yin yue, 2015.

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Brown, James Murray. A handbook of musical knowledge. London: Trinity College of Music, 1987.

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Book chapters on the topic "Music theory Music theory Harmony"

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Kidde, Geoffrey. "Chromatic Harmony." In Learning Music Theory with Logic, Max, and Finale, 177–96. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351004381-8.

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Yust, Jason. "Applications of DFT to the Theory of Twentieth-Century Harmony." In Mathematics and Computation in Music, 207–18. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20603-5_22.

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Fuller, Rainon. "VII. Toward A Theory Of Webemian Harmony, Via Analysis With A Digital Computer." In The Computer and Music, edited by Harry B. Lincoln, 123–31. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744167-010.

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Anders, Torsten. "On Modelling Harmony with Constraint Programming for Algorithmic Composition Including a Model of Schoenberg’s Theory of Harmony." In Handbook of Artificial Intelligence for Music, 283–326. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_11.

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Mazzola, Guerino. "Harmonic Topology." In The Topos of Music I: Theory, 417–34. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64364-9_24.

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Mazzola, Guerino. "Harmonic Semantics." In The Topos of Music I: Theory, 435–52. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64364-9_25.

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Kidde, Geoffrey. "Harmonic Progressions." In Learning Music Theory with Logic, Max, and Finale, 149–76. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351004381-7.

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Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory, 3–15. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-1.

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Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory Workbook, 3–6. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-1.

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Navas, Eduardo. "Remix[ing] Music." In Remix Theory, 33–61. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1263-2_3.

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Conference papers on the topic "Music theory Music theory Harmony"

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Rashid, Sabbir M., David De Roure, and Deborah L. McGuinness. "A Music Theory Ontology." In SAAM '18: 1st International Workshop on Semantic Applications for Audio and Music. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243907.3243913.

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Calilhanna, Andrea M., Stephen G. Onwubiko, and Adebowale O. Adeogun. "Mathematical music theory of embodied acoustics of Ikoro music using beat-class theory." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001276.

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Calilhanna, Andrea Mary, and Stephen Gbakobachukwu Onwubiko. "Mathematical music theory and the representation of Igbo music." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001136.

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Kassler, M. "APL applied in music theory." In the international conference. New York, New York, USA: ACM Press, 1988. http://dx.doi.org/10.1145/55626.55654.

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Gong, Xiaofeng, Yougen Xu, and Zhiwen Liu. "On the Equivalence of Tensor-MUSIC and Matrix-MUSIC." In 2006 7th International Symposium on Antennas, Propagation & EM Theory. IEEE, 2006. http://dx.doi.org/10.1109/isape.2006.353448.

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Lassauniere, A., G. E. Tewkesbury, D. A. Sanders, J. Marchant, and A. Close. "A new music technology system to teach music." In Proceedings 25th EUROMICRO Conference. Informatics: Theory and Practice for the New Millennium. IEEE, 1999. http://dx.doi.org/10.1109/eurmic.1999.794758.

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Lee, Younghwa, and Kenneth Kozar. "Music Composition Theory and Web Purchases." In 2007 40th Annual Hawaii International Conference on System Sciences (HICSS'07). IEEE, 2007. http://dx.doi.org/10.1109/hicss.2007.395.

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Sopchoke, Sirawit, Ken-ichi Fukui, and Masayuki Numao. "Bisociative Serendipity Music Recommendation." In Seventh Workshop on Computation: Theory and Practice, WCTP 2017. WORLD SCIENTIFIC, 2018. http://dx.doi.org/10.1142/9789813279674_0014.

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Brunner, Gino, Yuyi Wang, Roger Wattenhofer, and Jonas Wiesendanger. "JamBot: Music Theory Aware Chord Based Generation of Polyphonic Music with LSTMs." In 2017 IEEE 29th International Conference on Tools with Artificial Intelligence (ICTAI). IEEE, 2017. http://dx.doi.org/10.1109/ictai.2017.00085.

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Li, Bi, Qiang Tao, and Xiang Li. "Music feature extraction based on fractal dimension theory for music recommendation system." In 2016 5th International Conference on Measurement, Instrumentation and Automation (ICMIA 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icmia-16.2016.97.

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