Beruflich Dokumente
Kultur Dokumente
(Ref.01)
by Alan Belkin (2003)
alanbelkinmusic@gmail.com
alanbelkinmusic.com
(p.3)
Of all musical disciplines, harmony is probably the most written about. Textbooks abound, from the summary to the
encyclopedic. Why add to the existing plethora of resources? While we will survey some of this material below, one
thing is lacking in all of them: None convincingly connects traditional harmony to contemporary practice.
INTERFERENCE - 2009
(http://www.interferencetheory.com/HarmonicTheory/Interference/Excerpts.html)
-Richard Merrick
(p.11)
The greatest barrier in either understanding or making music must be the monumental task of learning all the rules.
Everyone seems to have a theory and some set of rules to explain how music works from Pythagoras .. to Arnold
Schoenberg, who devised a twelve-tone compositional system that broke every rule he had ever learned.
Given the preponderance of rules and exceptions to the rules (and exceptions to the exceptions!), we still find
ourselves today with absolutely no unifying model for music that adequately explains historical usage or perception.
No philosophy, no grand theory, no overarching logic to explain all the variations. Just rules. You told simply that if
you learn all the rules and practice, you might someday understand how music works.
A Geometry of Music
Harmony and Counterpoint in the Extended Common Practice
DMITRI TYMOCZKO
2011 by Oxford University Press, Inc.
(p.xviii Introduction)
But despite this new freedom, tonality remains poorly understood. We lack even the most rudimentary sense of the
musical ingredients that contribute to the sense of tonalness. The chromatic music of the late nineteenth century
continues to be shrouded in mystery. We have no systematic vocabulary for discussing Debussys early 20th-century
music or its relation to subsequent styles.
from: https://societymusictheory.org/peer_learning_program
Peer Learning Program (PLP)
2015 Workshops
Daniel Harrison (Yale University): Analytical Tools and Approaches to Contemporary Tonal Music
The persistence of tonal composition after common-practice norms relaxed in the early 20th century is as remarkable
as the resulting falloff in analytic power suffered by such strong tonal theories as Schenkers and Riemanns. Despite
ambitious work by Salzer (for Schenker) and Hermann Erpf (for Riemann), as well as innovative theorizing by
composers as diverse as Paul Hindemith and Dmitri Tymoczko, tonal composition during the last century has been
the subject of numerous individualized analyses, but of no lasting general theory of wide applicability. Extraordinary
stylistic diversity is one cause, which puts inflationary pressure on the scope of such a theory. How to encompass
techniques practiced by composers as diverse in tastes as Arnold Schoenberg and Leonard Bernstein?
.....
Michael Tenzer (University of British Columbia): Problematics of World Music Analysis
The wide world of music outside the Western canon and its offshoots presents opportunity and challenge for the
analyst and theorist, and raises questions likely to shape future research and pedagogy. The problems are daunting,
however, including, for starters, issues of representation and relationships between outsider perception and the
insider production of cultural meaning. How much, and what kinds, of expertise are prerequisite for analyzing world
musics? What can engagement among theorists and ethnomusicologists achieve? Certainly interest in this kind of
research is acquiring momentum. I postulate that a way forward will slowly emerge from close attention to these
issues, the gradual accumulation of analytical case studies, and plenty of spirited argument.
..