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After 20 years of teaching music to middle school students, high school students, college students, and some professionals, I find that almost all people who take up music be it a hobbyist, a professional, or even an educator have issues understanding music theory as a form of study.
A search for patterns and relationships in a music composition. This exploration in- spects multiple aspects of a work and seeks those components that create musical style.
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What follows is a fairly long list of musical definitions and descriptions gleaned primarily from multiple Internet searches (utilizing available translation services). I also used a few book sources, mostly for purposes of corroboration.
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The resulting e-book presents open licensed educational materials that deal with the building blocks of musical stave (sometimes known as staff) notation, a language designed to communicate about musical ideas which is in use around the world.
- Nikki Moran
PART-WRITING RULES. Allow all tendency tones to resolve correctly. Do not create parallel octaves, fifths, or unisons (by parallel or contrary motion). If it is possible to keep a note, do so, if not, move each part by the smallest possible interval.
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We now have a framework in terms of which we might define music. We can characterize music traditions in terms of their origins and the musical features these involve, tell the story of their subsequent, diverging histories, and then define music as the primary activity driving these traditions.
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The term music theory implies that there is a “science” of music, an all-encompassing set of truisms that, once understood, reveals the essence of music and establishes a set of rules that govern what composers can and cannot do as they create a piece of music. A. As such, the term music theory is misleading. We do not grasp musical syntax ...
