Music Theory: A Practical Handbookteaches the basics of music theory plus the vocabulary to use in harmonic and formal analysis. The book begins with no assumption of music reading skills, and progresses to include all the basic materials of music from J.S. Bach to John Cage. Based on Blatter's own three decades of teaching freshmen and sophomore music theory at Drexel University, this book is aimed at a basic introductory course in music theory, can serve for individual study, or as a review for graduate students returning to school. Drawing examples from well-known classical works, as well as folk and popular music, the book shows how theory is applied to practice. The book is divided into five parts. The first part introduces music notation, reviewing the basics of pitch, duration, and time as they are represented in written music. Part 2 introduces the concept of melody, covering the modes and scales; scale degrees; melodic form; vocal ranges; transposition; and compositional devices.Part 3 introduces harmony, dealing with harmonic progression, rhythm, and chord types. Part 4 covers the basics of counterpoint, or two melodic lines performed at once. This includes reviews of canon, cadence, and four-part style. Finally, Part 5 addresses musical form, and how form is used to structure a composition. Common forms including rondo, sonata, rounds, inventions, and fugues are covered. Music Theory: A Practical Handbookwill serve the needs of students new to music as well as to returning students wishing to attain (or renew) a basic knowledge of music fundamentals. It will be a valuable textbook for students, professors, and professionals.
Motivating: Fun, interactive activities, games and worksheets that introduce all the essentials in a progressive manner. Innovative: Efficient, effective teaching that makes learning easy, interesting. Focus: Carefully crafted activities to tackle common weaknesses and problems. Modular: Difficult, complex concepts introduced in a digestible, modular form. Standard: Standard musical words and terms used consistently throughout.
Both modern mathematical music theory and computer science are strongly influenced by the theory of categories and functors. One outcome of this research is the data format of denotators, which is based on set-valued presheaves over the category of modules and diaffine homomorphisms. The functorial approach of denotators deals with generalized points in the form of arrows and allows the construction of a universal concept architecture. This architecture is ideal for handling all aspects of music, especially for the analysis and composition of highly abstract musical works. This book presents an introduction to the theory of module categories and the theory of denotators, as well as the design of a software system, called Rubato Composer, which is an implementation of the category-theoretic concept framework. The application is written in portable Java and relies on plug-in components, so-called rubettes, which may be combined in data flow networks for the generation and manipulation of denotators. The Rubato Composer system is open to arbitrary extension and is freely available under the GPL license. It allows the developer to build specialized rubettes for tasks that are of interest to composers, who in turn combine them to create music. It equally serves music theorists, who use them to extract information from and manipulate musical structures. They may even develop new theories by experimenting with the many parameters that are at their disposal thanks to the increased flexibility of the functorial concept architecture. Two contributed chapters by Guerino Mazzola and Florian Thalmann illustrate the application of the theory as well as the software in the development of compositional tools and the creation of a musical work with the help of the Rubato framework.