One more suggestion to add to those already given. It's more of a reminder, since I assume many here are aware of the W.W. Norton Critical Scores series. As an example of how the volumes in the series are structured, the volume before me right now i…
I think of 'planing' as an a-functional harmonic technique (not anti-functional since 'tendencies'/'resolutions' still might be respected, but in odd (non-traditional') ways. Jazz practice certainly provides a playground for planing, but I also thin…
@Nicolas, I suppose I should have preceded my comments with the warning, 'sarcasm ahead'. I in NO way believe that 'theory should not busy itself with anything more than half a century old, nor with any "cultural tradition" other than ours.' But in …
John, I told you I was going to say what I believe 'The Problem' is. Why don't you just sit on it until I actually say what I indicated I was going to say? The urgency of your reply to nothing – based on your assumptions of what you believe I will s…
Both @Nicolas & @jzmckay made reference to semiotic systems as somehow distinguishing music theory & 'human science' from physics & 'hard/inhuman science'. So far this has only been proffered as opinion and needs to be fleshed out (I tru…
There is one more relevant quote from Lewin that more succinctly addresses 'what is music theory'. In 1990 he wrote the following blurb for the Harvard Graduate Program in Theory, again using a tripartite division that reflects the three hats descri…
The following (whether anyone agrees or not) is relevant personal background, previously published in my blog. It was a slap to me delivered by a (pardon the expression) great man. Consider it a basis for further comments that I may make here on the…
@Nicolas et al – Below is my attempt to summarize in outline Crease's take on three philosophical traditions for approaching scientific theories with 'scientific' replaced by 'music' & 'scientist' replaced by 'musicologist' (in the broader Europ…
One good approach would be to study the scores of Ruth Crawford Seeger while reading Joseph Straus' excellent study The Music of Ruth Crawford Seeger. Her contributions to Charles Seegers' work in compositional theory were so great that it would be …
Thanks, @Nicolas. As I indicated, I am trying to come at a possible connection from Messiaen's perspective as a composer. I think there's a larger composition-theoretic point underlying this for the analyst.
If we consider that Messiaen never visit…
Thanks for your personal input, @carsonics, but I'm looking for something much more specific. A couple people have written to me that transferring such rhythms into Western notation is difficult & can be misleading. (Some may call the attempt qu…
Just one last comment.
Beethoven, Symphony 9, Scherzo.
Molto vivace 3/4 with 1 measure (dotted half) = MM116
1) Obviously, this is not 'in 3' by the time signature Beethoven chose... no conductor would beat 3 to a bar (but it would be fun to watc…
This will get radical, but please hear me out. Perhaps the problem is that SMT is trying to fit everyone under one umbrella organization -- still trying too hard to justify the break from AMS which, after all, was essentially a fight over the import…
@Nicolas
I just remembered you once mentioned having taken a theory course with Messiaen. If so, was it his course on rhythm? And, if so, how did he teach it -- historical/survey or related to his own theories on rhythm?
John & Rick,
My fault for trying to be too clever by playing 'performance cue' against 'structural cLue', further obfuscating a subtle concept. Reading in the 'L' may show that I am close to what John replied. The way I approach 'meter' (a term …
Thank you, Andrea! I most likely agree with what you say & I should have replied in support of your previous post. (I would delete your word 'prove' here - but you may have intended it ironically.) I don't have experience with 'Ski-hill graphs' …
Rick et al... With all due respect... Seriously.... As the question is framed and as this discussion is going – as if everyone knows what they are talking about
..... THIS IS THE ISSUE????
It's like assuming a universal diatonic by pointing to the w…