Music Theory v. 1.0 (original) (raw)
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Current Musicology, 1997
Reviewed by Marilyn Nonken Music Theory In Concept and Practice is a seventieth-birthday tribute to Allen Forte, a theorist of unprecedented influence. Its editors claim that "in the modern rise of music theory. .. no single individual has been more central" (6). If this is an exaggeration, it is only a slight one. In addition to authoring landmark works (including Tonal Theory in Concept and Practice and The Structure of Atonal Music), Forte has also been an active and motivating presence in the field: as the editor who ushered the Journal of Music Theory through its transition from a fledgling publication to one of prominence; as a catalyst behind the foundation of the Society for Music Theory; and as a guiding force whose efforts resulted in the establishment of the doctoral program in music theory at Yale, the first of its kind at a major American institution. As depicted by Jonathan Bernard in the first of nineteen essays in this collection, Forte stands as heir to a tradition of musical inquiry that extends to the earliest decades of the century. With contributions by scholars on a wide variety of topics, this volume cannily evidences the transforming effect of one scholar's work on the discipline. Music Theory in Concept and Practice is divided into two broad categories ("Historical and Theoretical Essays" and "Analytical Studies"), then further divided into four subsections. The essays are categorized according to their musicological orientfltion ("Historical Perspectives" and "Theoretical Perspectives"), and the analyses to the repertoire they treat ("The Tonal Repertoire" and "Twentieth-Century Music"). The reader is warned that these divisions are by no means airtight. Works treating twentieth-century music, for example, are commonly found in other sections. Robert Morris's analysis ofVarese's Octandre is located in "Theoretical Perspectives," while Arnold Whittall's study on Carter and Birtwistle is found in "Historical Perspectives." The analyses are rarely lacking historical and theoretical comment, nor are the predominantly historical essays lacking analytical components. To their advantage, many essays in this collection ignore these distinctions. The best of them attain the fusion of historical, theoretical, and analytical thought, providing the reader a richer understanding of history, a firmer grasp of some of the issues surrounding music composition and scholarship, and an enlightened conception of the notes on the page. Because several studies will thus be of interest to historical
Notation 3 Important Concepts 3 Notation of Pitch 3 The Staff 3 Letter Names 3 The Clefs 4 Octave Identifi cation 6 Accidentals 7 Interval 7 Enharmonic Equivalents 8 Half-Step Motion 8 Notation of Duration 8 The Tie 9 The Dot 9 Irregular Division of Notes 10 Rhythm 10 Meter Signatures 10 Dynamic Markings 14 History 15 Applications 16 Some Directions for Notation 16 Assignments 21
The western conservatory tradition requires substantial study in European music history, theory, counterpoint, and orchestration in order to provide the necessary qualifications to pursue composition. This process favors imitation as a means of gaining a practical understanding of historical forms. Because it is rooted in the practice of European music, this course of study excludes a serious investigation of other traditions that may play a central role in one's cultural identity. The degree to which this forms barriers for young composers from Asia is a particular concern of mine. I advocate for a shift in priorities that raises the profile of Asian cultural practices as a vital part of becoming a composer. My paper refers to writings by Chou Wen-chung, who wrote persuasively on this topic, and by José Maceda, whose inquiries into Southeast Asian music unc 1 overed a rich terrain. I use my own work as an example of how the study of one's particular heritage can help inform a personal creative voice. My intent is not to suggest models, but rather to suggest possible paths that better suit those of us from Asian backgrounds so that we can take advantage of the richness this provides. Abstract 1 Distinguished Professor, University of California, San Diego and Presidential Fellow: Senior Composer in Residence, 8 Chapman University
Harmonic Materials in Tonal Music, a Programmed Course
Journal of Music Theory, 1968
It is a challenging task to revise a book that has already enjoyed many years of success. It is an honor to be asked to undertake this latest revision of what has now been several editions. I have had a deep belief in these books ever since I first used them as a young theory teacher in 1967 when they were first available. With a great deal of history behind me, and the highest respect and regard for all of Paul Harder's diligent efforts, I now offer various revisions and enhancements that I believe keep to the original spirit of Dr. Harder's programmed concept, and that I hope all users will find helpful as they work through these pages. In making the revisions, I have responded to comments that were made available to me from Dr. Harder's estate and to suggestions from reviewers and current users of the book. Earlier revisions contained additions made to the supplementary exercises and to the Appendix material. In selected places throughout the book, I have continued to clarify definitions or to demonstrate to the reader that there are always alternatives to the ideas presented and that the reader should explore those alternatives either independently or in class with the instructor. This edition sees further changes in or additions to selected exercises, changes in the Appendixes, and the addition of "Supplementary Activities." I hope that the differences in theoretical and analytical approaches (which, I know, will always be there) work comfortably with this book and also provide many interesting points of discussion in class. I'm quite sure that Dr. Harder never intended this volume to be the final, definitive answer but, rather, to provide an informed point of departure for exploring the many anomalies that are always to be found in musics everywhere. 7/19/06 9:33 AM both a performer and a listener. The purpose of conceptualizing musical processes is to render more understandable the responses elicited by the auditory stimuli of music. Remember, music is an aural art; it is apprehended better by the ear than by the eye. An icon beside a frame indicates that the music in that frame is reproduced on the compact disc.