Music theory

From Wikipedia, the free encyclopedia

Music theory is the study of how music works. It examines the language and notation of music. It seeks to

identify patterns and structures in composers' techniques across or within genres, styles, or historical periods.
In a grand sense, music theory distills and analyzes the fundamental parameters or elements of music—
rhythm, harmony (harmonic function), melody,structure, form, texture, etc. Broadly, music theory may include
any statement, belief, or conception of or about music.[1] A person who studies these properties is known as
a music theorist. Some have applied acoustics, human physiology, and psychology to the explanation of how
and why music is perceived.

Contents

  [hide] 

 1 Fundamentals of music

o 1.1 Pitch

o 1.2 Scales and modes

o 1.3 Consonance and dissonance

o 1.4 Rhythm

o 1.5 Chord

o 1.6 Melody

o 1.7 Harmony

o 1.8 Texture

o 1.9 Timbre

o 1.10 Expressive qualities

 1.10.1 Dynamics

 1.10.2 Articulation

o 1.11 Form or structure

 2 Theories of harmonization

o 2.1 Four-part writing

o 2.2 Music perception and cognition

o 2.3 Serial composition and set theory

o 2.4 Musical semiotics

 3 Music subjects

o 3.1 Notation
 o 3.2 Mathematics

o 3.3 Analysis

o 3.4 Ear training

 4 See also

 5 Notes

 6 Sources

 7 Further reading

 8 External links

Fundamentals of music[edit source | editbeta]

Main article:  Aspect of music

Music has many different fundamentals or elements. These include but are not limited to: pitch, beat or pulse,
rhythm, melody, harmony, texture, allocation of voices, timbre or color, expressive qualities (dynamics and
articulation), and form or structure. In addition to these "fundamentals," other important concepts are employed
in music both in Western and non-Western cultures, including "Scales and/or Modes" and "Consonance vs.
Dissonance."

Pitch[edit source | editbeta]
Main article:  Pitch (music)

Middle C (261.626 Hz)   Play (help·info).

Pitch is a subjective sensation, reflecting generally the lowness (slower wave frequency) or highness (faster
wave frequency) of a sound. Most people appear to possess relative pitch, which means they perceive each
note relative to some reference pitch, or as some interval from the previous pitch. Significantly fewer people
demonstrate absolute pitch (or perfect pitch), the ability to identify certain pitches without comparison to
another pitch. Human perception of pitch can be comprehensively fooled to create auditory illusions. Despite
these perceptual oddities, perceived pitch is nearly always closely connected with the fundamental frequency of
a note, with a lesser connection to sound pressure level, harmonic content (complexity) of the sound, and to
the immediately preceding history of notes heard. [2] In general, the higher the frequency of vibration, the higher
the perceived pitch is, and lower the frequency, the lower the pitch. [3] However, even for tones of equal
intensity, perceived pitch and measured frequency do not stand in a simple linear relationship. [4]
Below about 1,000 Hz, the perceived loudness of a tone gets lower as sound frequency decreases. Also above
approximately 2,000 Hz, the perceived loudness increases as the sound's frequency increases. [5] This is due to
the ear's natural sensitivity to higher pitched sound, as well as the ear's particular sensitivity to sound around
the 200–400 Hz area, the frequency range most of the human voice occupies. [6]

In Western music, there have long been several competing pitch standards defining tuning systems. Most
made a particular key sonorous, with increasingly remote ones more and more problematic; the underlying
problem is related to the physics of vibrations.

In addition, fixing notes to standard frequencies (required for instrument makers) has varied as well. Concert
A was set at 435 Hz by France in 1859 while in England, concert A varied between 439 and 452 Hz. A
frequency of 440 Hz was recommended as the standard in 1939, and in 1955 the International Organization for
Standardization affirmed the choice.[7] A440 is now widely, though not exclusively, used as the A above middle
C.

The difference in frequency between two pitches is called an interval. The most basic interval is the unison,
which is simply two of the same pitch, followed by the slightly more complexoctave, which indicates either a
doubling or halving of the fundamental frequency.

Scales and modes[edit source | editbeta]

Main articles: Musical scale  and  Musical mode

Pattern of whole and half steps in the Ionian mode or major scale on C 

Notes can be arranged into different scales andmodes. Western music theory generally divides the
octave into a series of 12 notes that might be included in a piece of music. This series of twelve notes is
called a chromatic scale. In the chromatic scale, the interval between adjacent notes is called a half-step
or semitone. Patterns of half and whole steps (2 half steps, or a tone) can make up a scale in that octave.
The scales most commonly encountered are the seven toned major, the harmonic minor, the melodic
minor, and the natural minor. Other examples of scales are the octatonic scale, and the pentatonic or five-
toned scale, which is common in but not limited to folk music. There are scales that do not follow the
chromatic 12-note pattern, for example in classical Ottoman, Persian, Indian and Arabic music. Arabic
and Persian classical traditions often make use of quarter-tones, half the size of a semitone, as the name
suggests.[citation needed]

In music written using the system of major-minor tonality, the key of a piece determines the scale used.
(One way of showing how various keys relate to one another may be seen in thecircle of fifths.)
Transposing a piece from C major to D major will make all the notes two semitones (or one full step)
higher. Even in modern equal temperament, changing the key can change the feel of a piece of music,
because it changes the relationship of the composition's pitches to the pitch range of the instruments that
play the piece. This often affects the music's timbre, as well as having technical implications for the
performers.[citation needed] However, performing a piece in one key rather than another may go unrecognized
by the casual listener, since changing the key does not change the relationship of the individual pitches to
each other.

Consonance and dissonance[edit source | editbeta]

Main article:  Consonance and dissonance

Consonance can be roughly defined as harmonies whose tones complement and increase each other's
resonance, and dissonance as those that create more complex acoustical interactions (called 'beats'). A
simplistic example is that of "pleasant" sounds versus "unpleasant" ones. Another manner of thinking
about the relationship regards stability; dissonant harmonies are sometimes considered to be unstable
and to "want to move" or "resolve" toward consonance. However, this is not to say that dissonance is
undesirable. A composition made entirely of consonant harmonies may be pleasing to the ear and yet
boring because there are no instabilities to be resolved. [citation needed]

Melody is often organized so as to interact with changing harmonies (sometimes called a chord
progression) that accompany a piece, setting up consonance and dissonance. The art of melody writing
depends heavily upon the choices of tones for the composer's nonharmonic or harmonic character.

Rhythm[edit source | editbeta]
Main article:  Rhythm

Metric levels: beat level shown in middle with division levels above and multiple levels below.

Rhythm is the arrangement of sounds and silences in time. Meter animates time in regular pulse
groupings, called measures or bars. Thetime signature or meter signature specifies how many beats are
in a measure, and which value of written note is counted and felt as a single beat. Through increased
stress and attack (and subtle variations in duration), particular tones may be accented. There are
conventions in most musical traditions for a regular and hierarchical accentuation of beats to reinforce the
meter. Syncopated rhythms are rhythms that accent unexpected parts of the beat. Playing simultaneous
rhythms in more than one time signature is called polymeter. See also polyrhythm.

In recent years, rhythm and meter have become an important area of research among music scholars.
Recent work in these areas includes books by Bengt-Olov Palmqvist, Fred Lerdahland Ray Jackendoff,
and Jonathan Kramer.

Chord[edit source | editbeta]
Main article:  Chord (music)

A chord is the sounding of three or more different notes, usually but not always simultaneously.Triads are
the most common types of chords, consisting of two stacked thirds and described with such names as C
major and E minor. Seventh chords consist of a triad plus an additional note with the interval of a major
seventh (in the case of major triads), minor seventh (in the case of diminished, minor, or major triads),
or diminished seventh (only in the case of diminished triads) above the root. Chords may
be inverted, extended, or altered. Dissonant chords, such ascluster chords, have been used by more
contemporary composers and some non-Western cultures. In general, however, chords are one of the
most distinctive features of Western music and appear much less often in music of other cultures.

Melody[edit source | editbeta]
Main article:  Melody

"Pop Goes the Weasel" melody[8] 

A melody is a series of tones sounding in succession. The tones of a melody are typically created with
respect to pitch systems such asscales or modes. The rhythm of a melody is often based on
the intonation of language, the physical rhythms of dance, or simply periodic pulsation.[citation needed] Melody
is typically divided into phrases within a larger overarching structure. The elements of a melody are pitch,
duration, dynamics, and timbre.

Harmony[edit source | editbeta]
Main article:  Harmony

IV-V-I progression in C   Play (help·info)

Harmony is the study of vertical sonorities in music. Vertical sonority refers to considering the
relationships between pitches that occur together; usually this means at the same time, although harmony
can also be implied by a melody that outlines a harmonic structure.

The relationship between two pitches is referred to as an interval. A larger structure involving more than
two pitches is called a chord. Incommon practice and popular music, harmonies are generally tertian. This
means that theinterval of which the chords are composed is a third. Therefore, a root-position triad (with
the root note in the lowest voice) consists of the root note, a note a third above, and a note a third above
that (a fifth above the root). Seventh chords add a third above the top note of a triad (a seventh above the
root). There are some notable exceptions. In 20th century classical music, many alternative types of
harmonic structure were explored. One way to analyze harmony in common practice music is through
a Roman numeral system; in popular music and jazz a system of chord symbols is used; and in post-tonal
music, a variety of approaches are used, most frequently set theory.

The perception of pitch within harmony depends on a number of factors including the interaction of
frequencies within the harmony and the roughness produced by the fast beating of nearby partials. Pitch
perception is also affected by familiarity of the listener with the music, and cultural associations. [citation needed]

"Harmony" as used by music theorists can refer to any kind of simultaneity without a value judgement, in
contrast with a more common usage of "in harmony" or "harmonious", which in technical language might
be described as consonance.[citation needed]

Monophony is the texture of a melody heard only by itself. If a melody is accompanied by chords, the
texture is homophony. In homophony, the melody is usually but not always voiced in the highest notes. A
third texture, called polyphony, consists of several simultaneous melodies of equal importance. [citation needed]

Texture[edit source | editbeta]
Main article:  Musical texture

Introduction to Sousa's "Washington Post March," m. 1-7

Musical texture is the overall sound of a piece of music commonly described according to the number of
and relationship between parts or lines of music: monophony, heterophony,polyphony, homophony,
or monody. The perceived texture of a piece may also be affected by the timbre of the instruments, the
number of instruments used, and the distance between each musical line, among other things.

Timbre[edit source | editbeta]
Main article:  Timbre

Timbre, sometimes called color, or tone color, is the quality or sound of a voice or instrument. [9]The quality
of timbre varies widely from instrument to instrument, or from voice to voice. The timbre of some
instruments can be changed by applying certain techniques while playing. For example, the timbre of a
trumpet changes when a mute is inserted into the bell, or a voice can change its timbre by the way a
performer manipulates the vocal apparatus, (e.g. the vocal cords, mouth and diaphragm). Generally, no
common musical notation speaks specifically to a change in timbre, (as pianissimo indicates very soft for
a change in dynamics).

Expressive qualities[edit source | editbeta]

Expressive qualities are those elements in music that create change in music not related to pitch, rhythm
or timbre. They include dynamics and articulation.
Dynamics[edit source | editbeta]
Main article:  Dynamics (music)
In music, the term "dynamics" normally refers to the softness or loudness of a sound or note: e.g.
pianissimo or fortissimo. Until recently, most dynamics in written form were done so in Italian, but recently
are sometimes written or translated into English. Another sense of the word refers to any aspect of the
execution of events in a given piece; either stylistic (staccato, legato etc.) or functional (velocity) are also
known as dynamics. The term is also applied to the written or printed musical notation used to indicate
dynamics.

Articulation[edit source | editbeta]
Main article:  Articulation (music)

Examples of articulations. From left to right: staccato, staccatissimo, martellato,marcato, tenuto.

Articulation is the manner in which the performer applies their technique to execute the sounds or notes—
for example, staccato or legato. Articulation is often described rather than quantified, therefore there is
room to interpret how to execute precisely each articulation. For example, staccato is often referred to as
"separated" or "detached" rather than having a defined, or numbered amount by which the separation or
detachment is to take place. Often the manner in which a performer decides to execute a given
articulation is done so by the context of the piece or phrase. Also, the type or style of articulation will
depend on the instrument and musical period, e.g. the classical period, but there is a generally
recognized set of articulations that most all instruments (and voices) have in common. They are, in order
of long to short: legato ("smooth, connected"); tenuto ("pressed", "lengthened but
detached"); marcato(heavily accented and detached); staccato ("separated", "detached"); "martelé" (or
"rooftop accent" or "teepee accent") for its written shape (short and hard). Any of these may be combined
to create certain "in-between" articulations. For example, portato is the combination
of tenuto and staccato. Some instruments have unique methods by which to produce sounds, such
as spicatto for strings, where the bow bounces off the string.

Form or structure[edit source | editbeta]

Main article:  Musical form

Form is a facet of music theory that explores the concept of musical syntax, on a local and global level.
The syntax is often explained in terms of phrases and periods (for the local level) or sections or genre (for
the global scale). Examples of common forms of Western music include the fugue, the invention, sonata-
allegro, canon, strophic, theme and variations, and rondo. Popular Music often makes use of strophic
form many times in conjunction with Twelve bar blues.

Theories of harmonization[edit source | editbeta]

Four-part writing [edit source | editbeta]
Main article:  Four-part harmony

Four-voice texture in the Genevan psalter: Old 124th.[10] 

Four-part chorale writing is used to teach and analyze the basic conventions ofCommon-Practice Period
music, the time period lasting from approximately 1650 to 1900. [11] In the German musicology tradition
referred to as functional harmony.[citation needed]Johann Sebastian Bach's four-voice chorales written for
liturgical purposes serve as a model for students. These chorales exhibit a fusion of linear and vertical
thinking.[citation needed] In analysis, the harmonic function and rhythm are analyzed as well as the shape and
implications of each of the four lines. Students are then instructed to compose chorales, often using given
melodies (as Bach would have done), over a given bass line, or to compose within a chord progression,
following rules of voice leading.[citation needed] Though traditionally conceived as a vocal exercise
for Soprano, Alto, Tenor, and Bass, other common four-part writings could consist of a brass quartet
(two Trumpets, French Horn, and Trombone) or a string quartet(including violin I, violin II, viola and cello).

There are seven chords used in four-part writing that are based upon each note of the scale. The chords
are usually given Roman Numerals I, II, III, IV, V, VI and VII to refer to triadic (three-note) chords based
on each successive note of the major or minor scale the piece is in. Chords may be analyzed in two ways.
Case-sensitive harmonic analysis would state that major-mode chords (I, IV, V 7, etc.), including
augmented (for example, VII+), would be notated with upper-case Roman numerals, and minor-mode
chords, including diminished (ii, iii, vi, and the diminished vii chord, vii o), would be notated with lower-case
Roman numerals. When a scale degree other than the root of the chord is in the bass, the chord is said to
be in inversion, and this is indicated by numbers written above the roman numeral. With triads a 6
indicates first inversion, and 6 4 indicates second inversion. With seventh chords, 6 5 indicates first
inversion, 4 3 indicates second inversion, and 4 2 indicates third inversion. ( I 6, IV4/3,V 4/2 , etc.)
Schenkerian harmonic analysis, patterned after the theories of Heinrich Schenker, would state that the
mode does not matter in the final analysis, and thus all harmonies are notated in upper-case.

The skill in harmonizing a Bach chorale lies in being able to begin a phrase in one key and to modulate to
another key either at the end of the first phrase, the beginning of the next one, or perhaps by the end of
the second phrase. Each chorale often has the ability to modulate to various tonally related areas: the
relative major (III) or minor (vi), the Dominant (V) or its relative minor (iii), the Sub-Dominant (IV) or its
relative minor (ii). Other chromatic chords may be used, like the diminished seventh (made up of minor
thirds piled on top of each other) or theSecondary dominant (the Dominant's Dominant – a kind of major
version of chord II). Certain standard cadences are observed, most notably II b7 – V7 – I. The standard
collection of J. S. Bach's chorales was edited by Albert Riemenschneider and this collection is readily
available,e.g. here.

Music perception and cognition[edit source | editbeta]

Further information: Music cognition,  Fred Lerdahl, and  Ray Jackendoff
Serial composition and set theory[edit source | editbeta]
Further information: serialism, set theory (music), Arnold Schoenberg,  Milton Babbitt,  David
Lewin, and  Allen Forte

Tone row from Alban Berg's Lyric Suite, mov. I.   Play (help·info)

Musical semiotics[edit source | editbeta]

Further information: music semiology  and Jean-Jacques Nattiez

Music subjects[edit source | editbeta]

Notation[edit source | editbeta]
Main articles:  Musical notation  and Sheet music

Tibetan musical score from the 19th century.

Musical notation is the symbolic representation of music (not to be confused with audio recording).
Historically, and in the narrow sense, this is achieved with graphic symbols. Computer file formats have
become important as well.[12] Spoken language and hand signs are also used to symbolically represent
music, primarily in teaching.

In standard Western music notation, music is represented graphically by notes placed on a staffor staves
with the vertical axis roughly corresponding to pitch and the horizontal axis roughly corresponding to time.
Note head shapes, stems, flags, and ties are used to indicate duration. Additional symbols represent key,
tempo, dynamics, accents, rests, etc.

Mathematics[edit source | editbeta]
Main article:  Music and mathematics

In music history mathematics were the foundation of the first understanding of tones, intervals, and scales
developed by the Greeks between 530 and 500 BC. This discovery was based upon shortening a harp’s
string by a half, creating an octave. Further, separating the same string into two-thirds or four equal parts
produced intervals known as fifths and fourths, respectively. [citation needed]

Analysis[edit source | editbeta]
Main articles:  Musical analysis, Schenkerian analysis, and Transformational theory
Bass prolongation: I–IV–V–I 

Analysis is the effort to describe and explain music. Analysis at once is a catch-all term describing the
process of describing any portion of the music, as well as a specific field of formal analysis or the field of
stylistic analysis. Formal analysis attempts to answer questions of hierarchy and form, and stylistic
analysis attempts to describe the style of the piece. These two distinct sub-fields often coincide.

Analysis of harmonic structures is typically presented through a roman numeral analysis. However, over
the years, as music and the theory of music have both grown, a multitude of methods of analyzing music
have presented themselves. Two very popular methods, Schenkerian analysis and Neo-Riemannian
analysis, have dominated much of the field. Schenkerian analysis attempts to "reduce" music through
layers of foreground, middleground, and, eventually and importantly, the background. Neo-Riemannian
(or Transformational) analysis began as an extension of Hugo Riemann's theories of music, and then
expanding Riemann's concepts of pitch and transformation into a mathematically rich language of
analysis. While both theories originated as methods of analysis for tonal music, both have been extended
to use in non-tonal music as well.

Ear training[edit source | editbeta]

Main article:  Ear training

Aural skills – the ability to identify musical patterns by ear, as opposed to by the reading of notation – form
a key part of a musician's craft and are usually taught alongside music theory. Most aural skills courses
train the perception of relative pitch (the ability to determine pitch in an established context) and rhythm.
Sight-singing – the ability to sing unfamiliar music without assistance – is generally an important
component of aural skills courses. Absolute pitch or perfect pitch describes the ability to recognize a
particular audio frequency as a given musical note without any prior reference.

See also[edit source | editbeta]

 Pitch (psychophysics)
 AP Music Theory
 Theory of painting
 Musicology
 List of music theorists
Notes[edit source | editbeta]

1. ^ Boretz 1995,[page  needed].

2. ^ Lloyd and Boyle 1978, 142.

3. ^ Benade 1960, 31.

4. ^ Stevens, Volkmann, and Newman 1937, 185; Josephs 1967, 53–54.

5. ^ Olson 1967, 248–51.

6. ^ http://hyperphysics.phy-astr.gsu.edu/hbase/sound/maxsens.html

7. ^ Cavanagh (1999).

8. ^ Kliewer 1975,[page  needed].

9. ^ Harnsberger 1997.

10. ^ Benward & Saker (2003), p.159.

11. ^ Kostka and Payne 2004,[page  needed].

12. ^ Castan 2009.

Sources[edit source | editbeta]

 Benade, Arthur H. (1960). Horns, Strings, and Harmony. Science Study Series S 11. Garden City, New

York: Doubleday & Company, Inc.

 Boretz, Benjamin (1995). Meta-Variations: Studies in the Foundations of Musical Thought. Red Hook, New

York: Open Space.

 Benward, Bruce, and Marilyn Nadine Saker (2003).[full citation needed]

 Benward, Bruce, and Marilyn Nadine Saker (2009). Music in Theory and Practice, eighth edition, vol. 2.

Boston: McGraw-Hill. ISBN 978-0-07-310188-0.

 Bent, Ian D., and Anthony Pople (2001). "Analysis." The New Grove Dictionary of Music and Musicians,

second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

 Castan, Gerd (2009). "Musical Notation Codes". Music-Notation.info (Accessed 1 May 2010).

 Cavanagh, Lynn ([1999]). "A Brief History of the Establishment of International Standard Pitch A=440

Hertz" (PDF). (Accessed 1 May 2010)

 Harnsberger, Lindsey C. (1997). "Articulation". Essential Dictionary of Music: Definitions, Composers,

Theory, Instrument and Vocal Ranges, second edition. The Essential Dictionary Series. Los Angeles: Alfred

Publishing Co. ISBN 0-88284-728-7.

 Jackendoff, Ray and Fred Lerdahl (1981). "Generative Music Theory and Its Relation to

Psychology." Journal of Music Theory 25, no.1:45–90.

 Josephs, Jess L. (1967). The Physics of Musical Sound. Princeton, Toronto, London: D. Van Nostrand

Company, Inc.

 Kliewer, Vernon (1975). "Melody: Linear Aspects of Twentieth-Century Music". In Aspects of Twentieth-

Century Music, edited by Gary Wittlich, 270-301. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-

049346-5.

 Kostka, Stefan, and Dorothy Payne (2004). Tonal Harmony, fifth edition. New York: McGraw-Hill.

 Kramer, Jonathan (1988). The Time of Music. New York: Schirmer Books.

 Lerdahl, Fred (2001). Tonal Pitch Space. Oxford: Oxford University Press.

 Lewin, David (1987). Generalized Musical Intervals and Transformations. New Haven: Yale University

Press.

 Lloyd, Llewellyn S., and Hugh Boyle (1978). Intervals, Scales and Temperaments. New York: St. Martin's

Press. ISBN 0-312-42533-3

 Mazzola, Guerino (1985). Gruppen und Kategorien in der Musik: Entwurf einer mathematischen

Musiktheorie. Heldermann. ISBN 978-3-88538-210-2. Retrieved 26 February 2012.[full citation needed]

 Mazzola, Guerino; Daniel Muzzulini (1990). Geometrie der Töne: Elemente der mathematischen

Musiktheorie. Birkhäuser. ISBN 978-3-7643-2353-0. Retrieved 26 February 2012.[full citation needed]

 Mazzola, Guerino, Stefan Göller, and Stefan Müller (2002). The Topos of Music: Geometric Logic of

Concepts, Theory, and Performance, Vol. 1. Basel, Boston, and Berlin: Birkhäuser. ISBN 978-3-7643-5731-3
(Basel), 978-0-8176-5731-4 (Boston) Check |isbn= value (help). Retrieved 26 February 2012.

 Olson, Harry F. (1967). Music, Physics and Engineering. New York: Dover Publications. ISBN 0-486-21769-

8.

 Olson, Steve (2011). "A Grand Unified Theory of Music". Princeton Alumni Weekly 111, no. 7 (February 9)

(Online edition accessed 25 September 2012).

 Stevens, S. S., J. Volkmann, and E. B. Newman (1937). "A Scale for the Measurement of the Psychological

Magnitude Pitch". Journal of the Acoustical Society of America 8, no. 3:185–90.

 Yamaguchi, Masaya (2000). The Complete Thesaurus of Musical Scales. New York: Charles Colin.ISBN 0-

9676353-0-6.

Further reading[edit source | editbeta]

 Apel, Willi, and Ralph T. Daniel (1960). The Harvard Brief Dictionary of Music. New York: Simon & Schuster

Inc. ISBN 0-671-73747-3

 Benward, Bruce, Barbara Garvey Jackson, and Bruce R. Jackson. (2000). Practical Beginning Theory: A

Fundamentals Worktext, 8th edition, Boston: McGraw-Hill. ISBN 0-697-34397-9. [First edition 1963]

 Brown, James Murray (1967). A Handbook of Musical Knowledge, 2 vols. London: Trinity College of Music.
  Chase, Wayne (2006). How Music REALLY Works!, second edition. Vancouver, Canada: Roedy Black

Publishing. ISBN 1-897311-55-9 (book)

 Hewitt, Michael (2008). Music Theory for Computer Musicians. USA: Cengage Learning. ISBN 978-1-59863-

503-4.

 Lawn, Richard J., and Jeffrey L. Hellmer (1996). Jazz Theory and Practice. [N.p.]: Alfred Publishing

Co. ISBN 0-88284-722-8.

 Miguel, Roig-Francoli (2011). Harmony in Context, Second edition, McGraw-Hill Higher Education.ISBN

0073137944

 Owen, Harold (2000). Music Theory Resource Book. Oxford University Press. ISBN 0-19-511539-2.

 Seashore, Carl (1933). Approaches to the Science of Music and Speech. Iowa City: The University.

 Seashore, Carl (1938). Psychology of Music, New York, London, McGraw-Hill Book Company, Inc.

 Sorce, Richard (1995). Music Theory for the Music Professional. [N.p.]: Ardsley House. ISBN 1-880157-20-

9.

 Taylor, Eric (1989). AB Guide to Music Theory, Part 1. London: Associated Board of the Royal Schools of

Music. ISBN 1-85472-446-0

 Taylor, Eric (1991). AB Guide to Music Theory, Part 2. London: Associated Board of the Royal Schools of

Music. ISBN 1-85472-447-9

 Yamaguchi, Masaya (2006). The Complete Thesaurus of Musical Scales, revised edition. New York:

Masaya Music Services. ISBN 0-9676353-0-6.

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topic of: Music theory

 Dillen, Oscar van, Outline of basic music theory (2011)

 http://www.musictheoryhelp.co.uk

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