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Peter Westergaard's Tonal Theory
Peter Westergaard's tonal theory is the theory of tonality, tonal music developed by Peter Westergaard and outlined in Westergaard's 1975 book ''An Introduction to Tonal Theory'' (hereafter referred to as ''ITT''). Based on Schenkerian analysis, ideas of Heinrich Schenker, Westergaard's theory is notable for: *explicit treatment of the relationship between rhythmic structures and Pitch (music), pitch structures in tonal music *elimination of "harmony" as a conceptually independent element of musical structure. Methodological foundations In keeping with Westergaard's characteristic "concern with fundamental methodological questions", ''ITT'' begins with a discussion of what it is that a theory of tonal music consists of. The conclusion reached is that it is a "logical framework in terms of which we understand tonal music"–the operative words being "we understand". Westergaard is thus seeking a theory about a certain kind of cognition, as opposed to one dealing with acoustics or ne ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theory
A theory is a rational type of abstract thinking about a phenomenon, or the results of such thinking. The process of contemplative and rational thinking is often associated with such processes as observational study or research. Theories may be scientific, belong to a non-scientific discipline, or no discipline at all. Depending on the context, a theory's assertions might, for example, include generalized explanations of how nature works. The word has its roots in ancient Greek, but in modern use it has taken on several related meanings. In modern science, the term "theory" refers to scientific theories, a well-confirmed type of explanation of nature, made in a way consistent with the scientific method, and fulfilling the criteria required by modern science. Such theories are described in such a way that scientific tests should be able to provide empirical support for it, or empirical contradiction ("falsify") of it. Scientific theories are the most reliable, rigorous, and compr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metalanguage
In logic and linguistics, a metalanguage is a language used to describe another language, often called the ''object language''. Expressions in a metalanguage are often distinguished from those in the object language by the use of italics, quotation marks, or writing on a separate line. The structure of sentences and phrases in a metalanguage can be described by a metasyntax. Types There are a variety of recognized metalanguages, including ''embedded'', ''ordered'', and ''nested'' (or ''hierarchical'') metalanguages. Embedded An embedded metalanguage is a language formally, naturally and firmly fixed in an object language. This idea is found in Douglas Hofstadter's book, '' Gödel, Escher, Bach'', in a discussion of the relationship between formal languages and number theory: "... it is in the nature of any formalization of number theory that its metalanguage is embedded within it." It occurs in natural, or informal, languages, as well—such as in English, where words ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Triad (music)
In music, a triad is a set of three notes (or "pitch classes") that can be stacked vertically in thirds.Ronald Pen, ''Introduction to Music'' (New York: McGraw-Hill, 1992): 81. . "A triad is a set of notes consisting of three notes built on successive intervals of a third. A triad can be constructed upon any note by adding alternating notes drawn from the scale.... In each case the note that forms the foundation pitch is called the ''root'', the middle tone of the triad is designated the ''third'' (because it is separated by the interval of a third from the root), and the top tone is referred to as the ''fifth'' (because it is a fifth away from the root)." Triads are the most common chords in Western music. When stacked in thirds, notes produce triads. The triad's members, from lowest-pitched tone to highest, are called: * the root **Note: Inversion does not change the root. (The third or fifth can be the lowest note.) * the third – its interval above the root being a minor thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic Collection
In music theory, a diatonic scale is any heptatonic scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps, depending on their position in the scale. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other (i.e. separated by at least two whole steps). The seven pitches of any diatonic scale can also be obtained by using a chain of six perfect fifths. For instance, the seven natural pitch classes that form the C-major scale can be obtained from a stack of perfect fifths starting from F: :F–C–G–D–A–E–B Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any transposition thereof, is a diatonic scale. Modern musical keyboards are designed so that the white notes form a diatonic scale, though transpositions of this dia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
