BiblioVault - Books about Music theory

BEYOND SCHENKERISM

Eugene Narmour

University of Chicago Press, 1977

Book on Music

Florentius de Faxolis

Harvard University Press, 2010

Between 1485 and 1492 Cardinal Ascanio Sforza was the recipient of a music treatise composed for him by “Florentius Musicus” (Florentius de Faxolis), who had served him in Naples and Rome. Now in Milan, the richly illuminated small parchment codex bears witness to the musical interests of the cardinal, himself an avid singer taught by Duke Ercole d’Este. Florentius, whose treatise, found in no other source, is edited here for the first time, evidently took the cardinal’s predilections into account, for the Book on Music is unusual for its emphasis on “the praises, power, utility, necessity, and effect of music”: he devotes far more space to citations from classical and medieval authors than is the norm, and his elevated style shows that he aspires to appear as a humanist and not merely a technician. Likewise, the production quality of the manuscript indicates the acceptance of music’s place within the high culture of the Quattrocento. The author’s unusual insights into the musical thinking of his day are discussed in the ample commentary. The editors, a Renaissance musicologist (Bonnie Blackburn) and a classical scholar (Leofranc Holford-Strevens), have combined their disciplines to pay close attention both to Florentius’ text and to his teachings.

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A Brief Quadrivium

Peter Ulrickson

Catholic University of America Press, 2023

Mathematics holds a central place in the traditional liberal arts. The four mathematical disciplines of the quadrivium-arithmetic, geometry, music, and astronomy-reveal their enduring significance in this work, which offers the first unified, textbook treatment of these four subjects. Drawing on fundamental sources including Euclid, Boethius, and Ptolemy, this presentation respects the proper character of each discipline while revealing the relations among these liberal arts, as well as their connections to later mathematical and scientific developments. This book makes the quadrivium newly accessible in a number of ways. First, the careful choice of material from ancient sources means that students receive a faithful, integral impression of the classical quadrivium without being burdened or confused by an unwieldy mass of scattered results. Second, the terminology and symbols that are used convey the real insights of older mathematical approaches without introducing needless archaism. Finally, and perhaps most importantly, the book is filled with hundreds of exercises. Mathematics must be learned actively, and the exercises structured to complement the text, and proportioned to the powers of a learner to offer a clear path by which students make quadrivial knowledge their own. Many readers can profit from this introduction to the quadrivium. Students in high school will acquire a sense of the nature of mathematical proof and become confident in using mathematical language. College students can discover that mathematics is more than procedure, while also gaining insight into an intellectual current that influenced authors they are already reading: authors such as Plato, Aristotle, Augustine, Thomas Aquinas, and Dante. All will find a practical way to grasp a body of knowledge that, if long neglected, is never out of date.

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Disciplining Music

Musicology and Its Canons

Edited by Katherine Bergeron and Philip V. Bohlman

University of Chicago Press, 1992

Provocative and timely, Disciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons—rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays tug and push at the very boundaries of these traditional division within the study of music.

"Fortunately, in a blaze of good-humored . . . scholarship, [this] book helps brains unaccustomed to thinking about the future without jeopardizing the past imagine the wonder classical-music life might become if it embraced all people and all musics."—Laurence Vittes, Los Angeles Reader

"These essays will force us to rethink our position on many issues. . . [and] advance musicology into the twenty-first century."—Giulio Ongaro, American Music Teacher

With essays by Katherine Bergeron, Philip V. Bohlman, Richard Cohn and Douglas Dempster, Philip Gossett, Robert P. Morgan, Bruno Nettl, Don Michael Randel, Ruth A. Solie, and Gary Tomlinson.

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Divining the Oracle

Monteverdi's Seconda prattica

Massimo Ossi

University of Chicago Press, 2003

Claudio Monteverdi's historical position in music has been compared to that of Shakespeare in literature: almost exact contemporaries, each worked from traditional beginnings to transform nearly every genre he attempted. In this book, Massimo Ossi delves into the most significant aspect of Monteverdi's career: the development, during the first years of the seventeenth century, of a new compositional style he called the seconda prattica or "second manner."

Challenged in print for the unconventional aspects of his music, Monteverdi found himself at the center of a debate between defenders of Renaissance principles and the newest musical currents of the time. The principles of the seconda prattica, Ossi argues in this sophisticated analysis of Monteverdi's writings, music, and approaches to text-setting, were in fact much more significant to the course of Monteverdi's career than previously thought by modern scholars-not only did Monteverdi continue to pursue their aesthetic and theoretical implications for the rest of his life, but they also affected his dramatic compositions as well as his chamber vocal music and sacred works.

Ossi "divines the oracle" of Monteverdi's ambiguous theoretical concepts in a clear way and in terms of pure music; his book will enhance our understanding of Monteverdi as one of the most significant figures in western music history.

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Emblems of Mind

The Inner Life of Music and Mathematics

Edward Rothstein

University of Chicago Press, 2006

One is a science, the other an art; one useful, the other seemingly decorative, but mathematics and music share common origins in cult and mystery and have been linked throughout history. Emblems of Mind is Edward Rothstein’s classic exploration of their profound similarities, a journey into their “inner life.” Along the way, Rothstein explains how mathematics makes sense of space, how music tells a story, how theories are constructed, how melody is shaped. He invokes the poetry of Wordsworth, the anthropology of Lévi-Strauss, the imagery of Plato, and the philosophy of Kant. Math and music, Rothstein shows, apply comparable methods as they create their abstractions, display similar concerns with ratio and proportion, and depend on metaphors and analogies to create their meanings. Ultimately, Rothstein argues, they reveal the ways in which we come to understand the world. They are images of the mind at work and play; indeed, they are emblems of Mind itself.

Jacques Barzun called this book “splendid.” Martin Gardner said it was “beautifully written, marvelous and entertaining.” It will provoke all serious readers to think in new ways about the grand patterns in art and life.

“Lovely, wistful. . . . Rothstein is a wonderful guide to the architecture of musical space, its tensions and relations, its resonances and proportions. . . . His account of what is going on in the music is unfailingly felicitous.”—New Yorker

“Provocative and exciting. . . . Rothstein writes this book as a foreign correspondent, sending dispatches from a remote and mysterious locale as a guide for the intellectually adventurous. The remarkable fact about his work is not that it is profound, as much of the writing is, but that it is so accessible.”—Christian Science Monitor

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From Scratch

Writings in Music Theory

James TenneyEdited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter

University of Illinois Press, 2019

One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch arranges, edits, and revises Tenney's hard-to-find writings into one indispensable collection. Selections focus on his fundamental concerns—"what the ear hears"—and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.

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Harmonic Function in Chromatic Music

A Renewed Dualist Theory and an Account of Its Precedents

Daniel Harrison

University of Chicago Press, 1994

The highly chromatic music of the late 1800s and early 1900s includes some of the best-known works by Gustav Mahler, Richard Strauss, Cesar Franck, and Hugo Wolf. Yet until now, the harmonic complexity of this repertory has resisted the analytic techniques available to music theorists and historians. In this book, Daniel Harrison builds on nineteenth-century music theory to provide an original and illuminating method for analyzing chromatic music.

One of Harrison's central innovations is his reconstruction of the notion of harmony. Harrison understands harmonic power to flow not from chords as such but from the constituents of chords, reckoned for the most part as scale degrees of a key. This insight proves especially useful in analyzing the unusual progressions and key relations that characterize chromatic music.

Complementing the theoretical ideas is a critical history of nineteenth-century German harmonic theory in which Harrison traces the development of Hugo Riemann's ideas on dualism and harmonic function and examines aspects of Riemannian theory in the work of later theorists. Combining theoretical innovations with a sound historical understanding of those innovations, Harmonic Function in Chromatic Music will aid anyone studying this pivotal period of Western music history.

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The Lucidarium of Marchetto of Padua

A Critical Edition, Translation, and Commentary

Edited by Jan W. Herlinger

University of Chicago Press, 1985

"Herlinger deserves the thanks of the scholarly community for having prepared both edition and translation with the most meticulous of critical methods and the greatest of care."—Leeman L. Perkins, Renaissance Quarterly

"An almost archetypal example of unpretentious and honest scholarship."—Alejandro Enrique Planchart, Journal of the American Musicological Society

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Music and Ideas in the Sixteenth and Seventeenth Centuries

Thomas Mathiesen

University of Illinois Press, 2017

This essential summation of Palisca's life work was nearly finished by his death in 2001, and it was brought to completion by Thomas J. Mathiesen.

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Music and Musical Thought in Early India

Lewis Rowell

University of Chicago Press, 1992

Offering a broad perspective of the philosophy, theory, and aesthetics of early Indian music and musical ideology, this study makes a unique contribution to our knowledge of the ancient foundations of India's musical culture. Lewis Rowell reconstructs the tunings, scales, modes, rhythms, gestures, formal patterns, and genres of Indian music from Vedic times to the thirteenth century, presenting not so much a history as a thematic analysis and interpretation of India's magnificent musical heritage.

In Indian culture, music forms an integral part of a broad framework of ideas that includes philosophy, cosmology, religion, literature, and science. Rowell works with the known theoretical treatises and the oral tradition in an effort to place the technical details of musical practice in their full cultural context. Many quotations from the original Sanskrit appear here in English translation for the first time, and the necessary technical information is presented in terms accessible to the nonspecialist. These features, combined with Rowell's glossary of Sanskrit terms and extensive bibliography, make Music and Musical Thought in Early India an excellent introduction for the general reader and an indispensable reference for ethnomusicologists, historical musicologists, music theorists, and Indologists.

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Music Theory and the Exploration of the Past

Edited by Christopher Hatch and David W. Bernstein

University of Chicago Press, 1993

In recent decades, increased specialization has sharply separated music theory from historical musicology. Music Theory and the Exploration of the Past brings together a group of essays—written by theorists and musicologists—that seek to bridge this gap. This collection shows that music theory can join forces with historical musicology to produce a more humanistic form of musical scholarship.

In nineteen essays dealing with musical theories from the twelfth to the twentieth century, two recurring themes emerge. One is the need to understand the historical circumstances of the writing and reception of theory, a humanistic approach that gives theory a place within social and intellectual history. The other is the advantages of applying contemporaneous theory to the music of a given period, thus linking theory to the history of musical styles and structures. The periods given principal attention in these essays are the Renaissance, the years around 1800, and the twentieth century.

Abundantly illustrated with musical examples, Music Theory and the Exploration of the Past offers models of new practical applications of theory to the analysis of music. At the same time, it raises the broader question of how historical knowledge can deepen the understanding of an art and of systematic writings about that art.

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New Images of Musical Sound

Robert Cogan

Harvard University Press, 1984

On Music Theory, and Making Music More Welcoming for Everyone

Philip Ewell

University of Michigan Press, 2023

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory,Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s racist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.

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Prosdocimo de' Beldomandi's Musica Plana and Musica Speculativa

Prosdocimo de Beldomandi. Translated by Jan Herlinger.

University of Illinois Press, 2007

Available in English for the first time, Prosdocimo's Tractatus plane musice (1412) and Tractatus musice speculative (1425) are exemplary texts for understanding the high sophistication of music theory in the early fifteenth century. Known for considering music as a science based on demonstrable mathematical principles, Prosdocimo praises Marchetto for his theory of plainchant but criticizes his influential Lucidarium for its heterodox mathematics. In dismissing Marchetto as a “mere performer,” Prosdocimo takes up matters as broad as the nature and definition of music and as precise as counterpoint, tuning, and ecclesiastical modes. The treatises also reveal much about Prosdocimo’s understanding of plainchant; his work with Euclid's Elementa; and his familiarity with the music theory of Boethius, Macrobius, and Johannes de Muris. A foremost authority on Italian music theory of the Middle Ages and early Renaissance, Jan Herlinger consults manuscripts from Bologna, Cremona, and Lucca in preparing these valuable first critical editions.

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Rimsky-Korsakov's Harmonic Theory

Practical Manual of Harmony, Its Sources, History, and Traditions

Larisa P. Jackson

University of North Texas Press, 2022

Solfege, Ear Training, Rhythm, Dictation, and Music Theory

A Comprehensive Course

Marta Arkossy Ghezzo

University of Alabama Press, 1993

Stories of Tonality in the Age of François-Joseph Fétis

Thomas Christensen

University of Chicago Press, 2019

Stories of Tonality in the Age of François-Joseph Fétis explores the concept of musical tonality through the writings of the Belgian musicologist François-Joseph Fétis (1784–1867), who was singularly responsible for theorizing and popularizing the term in the nineteenth century. Thomas Christensen weaves a rich story in which tonality emerges as a theoretical construct born of anxiety and alterity for Europeans during this time as they learned more about “other” musics and alternative tonal systems. Tonality became a central vortex in which French musicians thought—and argued—about a variety of musical repertoires, be they contemporary European musics of the stage, concert hall, or church, folk songs from the provinces, microtonal scale systems of Arabic and Indian music, or the medieval and Renaissance music whose notational traces were just beginning to be deciphered by scholars. Fétis’s influential writings offer insight into how tonality ingrained itself within nineteenth-century music discourse, and why it has continued to resonate with uncanny prescience throughout the musical upheavals of the twentieth and twenty-first centuries.

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Teaching Approaches in Music Theory, Second Edition

An Overview of Pedagogical Philosophies

Michael R. Rogers

Southern Illinois University Press, 2004

Drawing on decades of teaching experience and the collective wisdom of dozens of the most creative theorists in the country, Michael R. Rogers’s diverse survey of music theory—one of the first to comprehensively survey and evaluate the teaching styles, techniques, and materials used in theory courses—is a unique reference and research tool for teachers, theorists, secondary and postsecondary students, and for private study. This revised edition of Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies features an extensive updated bibliography encompassing the years since the volume was first published in 1984.

In a new preface to this edition, Rogers references advancements in the field over the past two decades, from the appearance of the first scholarly journal devoted entirely to aspects of music theory education to the emergence of electronic advances and devices that will provide a supporting, if not central, role in the teaching of music theory in the foreseeable future. With the updated information, the text continues to provide an excellent starting point for the study of music theory pedagogy.

Rogers has organized the book very much like a sonata. Part one, “Background,” delineates principal ideas and themes, acquaints readers with the author’s views of contemporary musical theory, and includes an orientation to an eclectic range of philosophical thinking on the subject; part two, “Thinking and Listening,” develops these ideas in the specific areas of mindtraining and analysis, including a chapter on ear training; and part three, “Achieving Teaching Success,” recapitulates main points in alternate contexts and surroundings and discusses how they can be applied to teaching and the evaluation of design and curriculum.

Teaching Approaches in Music Theory emphasizes thoughtful examination and critique of the underlying and often tacit assumptions behind textbooks, materials, and technologies. Consistently combining general methods with specific examples and both philosophical and practical reasoning, Rogers compares and contrasts pairs of concepts and teaching approaches, some mutually exclusive and some overlapping. The volume is enhanced by extensive suggested reading lists for each chapter.

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Teaching the Quadrivium

A Guide for Instructors

Peter Ulrickson

Catholic University of America Press, 2023

Reviving an educational tradition involves a double task. A new generation of students must be taught, and at the same time the teachers themselves must learn. This book addresses the teachers who seek to hand on the quadrivium-the four mathematical liberal arts of arithmetic, geometry, music, and astronomy-at the same time as they acquire it. Two components run in parallel throughout the book. The first component is practical. Weekly overviews and daily lesson plans explain how to complete the study of A Brief Quadrivium in the course of a single school year, and suggestions for weekly assessments make it easy to plan tests and monitor student progress. The second component is directed to the continuing education of the teacher. Short essays explore the history, philosophy, and practice of mathematics. The themes of these essays are coordinated with the simultaneous mathematical work being done by students, allowing the teacher to instruct more reflectively. Some users of this book are confident in their grasp of mathematics and natural science. For them, the essays will clarify the unity of mathematical activity over time and reveal the old roots of new developments. Other users of this book, including some parents who school their children at home, find mathematics intimidating. The clear structure of the lesson plans, and the support of the companion essays, give them the confidence to lead students through a demanding but doable course of study. The British mathematician John Edensor Littlewood remarked that one finds in the ancient mathematicians not “clever schoolboys” but rather “Fellows of another College.” This guide invites all teachers of the quadrivium to join the enduring mathematical culture of Littlewood and his predecessors, and to witness for themselves the significance and vitality of a tradition as old as Pythagoras.

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The The Theoretical-Practical Elements of Music, Parts III and IV

Francesco Galeazzi Translated with an Introductin and Commentary by Deborah Burton and Gregory W. Harwood

University of Illinois Press, 2012

A virtuoso violinist, conductor, composer, and a professor of mathematics and botany, Francesco Galeazzi (1758–1819) firmly believed that musical education should be clear, demonstrable, and practical. In 1791 and 1796, he published the two volumes of his Elementi teorico-practici di musica, a treatise that demonstrated both his thorough grounding in the work of earlier theorists and his own approach to musical study. The first volume gave precise instructions on the violin and how to play it; the second demonstrated his command of other instruments and genres and provided comprehensive introductions to music theory, music history, and music aesthetics. The treatise also addresses the nature of compositional process and eighteenth-century concerns about natural and acquired talent and creativity.

This volume offers an unprecedented English translation of the second volume of Elementi teorico-practici di musica, with annotations and commentary. The translation is introduced with a study of Galeazzi's life and milieu, the genesis and sources for the Elementi, and its reception through the present day.

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Theory of African Music, Volume I

Gerhard Kubik

University of Chicago Press, 2010

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures.

In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time.

Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.

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Theory of African Music, Volume II

Gerhard Kubik

University of Chicago Press, 2010

Erudite and exhaustive, Gerhard Kubik’s Theory of African Music provides an authoritative account of its subject. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures.

In this second volume, Kubik explores a variety of topics, including Yoruba chantefables, the musical Kachamba family of Malawˆ i, and the cognitive study of African rhythm. Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. His analysis of tusona ideographs in Luchazi culture leads to an exploration of African space/time concepts that synthesizes his theories of art, rhythm, and culture.

Featuring a large number of photographs and accompanied by a compact disc of Kubik’s own recordings, Theory of African Music, Volume II, will be an invaluable reference for years to come.

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