Posted by aanet 16 hours ago
The other reasons cited are:
“This text differs from other music theory textbooks by focusing less on four–part (SATB) voiceleading and more on relating harmony to the phrase. Also, in traditional music theory textbooks, there is little emphasis on motivic analysis and analysis of melodic units smaller than the phrase. In my opinion, this led to students having difficulty with creating melodies, since the training they are given is typically to write a “melody” in quarter notes in the soprano voice of part writing exercises. When the assignments in those texts ask students to do more than this, the majority of the students struggle to create a melody with continuity and with appropriate placement of harmonies within a phrase because the text had not prepared them to do so.”
”Beware, this is just a general book of modern music theory masquerading as a guide specially for the bell or whistle player”.
Example: memorize the major scale as a series of whole and half steps but we won’t provide you with any context or motivation for why this is so.
Similar: in a major scale all notes are played and none are skipped or repeated. Except if your scale goes D–E–F#–G, in which case you skip F. The only way for this to be correct is apparently we consider F and F# to be the same note for purposes of scales even though this directly contradicts a previous section.
I was expecting a “21st century” music theory reference to have an emphasis on building intuition. Music theorists are apparently allergic to good pedagogy.
I get that maybe it's just the way it is, perhaps the underlying logic is so complex that it would be counterproductive to present it up front. I'm not saying that the theory should adapt to my pet peeves. But I'm very prone to learn things by understanding first principles and building from there. Having to memorize scales where suddenly you need to skip keys or use black keys without much apparent logic is a real deterrent for me considering it's something I learn as a hobby.
This is also the reason why I like algebra, calculus, etc. but dislike statistics... in algebra or calculus you start from first principles and work up from there understanding everything. In statistics (at least the way I was taught) you are shown the formula for the probability density of the Gaussian distribution and need to accept it as an act of faith.
I recommend "What Makes Music Sound Good?" by Prof. Dmitri Tymoczko: https://dmitri.mycpanel.princeton.edu/files/pdfs/MUS105hando...
There is a part near the beginning where he derives the diatonic scale from first principles. (There is a sequel as well, and a book if you prefer to read it in book form)
[1] I understand ancient scales were 3-limit instead of 5-limit scales, and that modern equal temperament has thirds which significantly deviate from 5:4 and 6:5, but once polyphony became a thing, 5-limit temperament made a lot more sense because they reduce beating.
Recommending The Jazz Theory Book to someone starting from scratch, especially someone self studying, is like recommending CLRS or TAOCP to someone who asks "I'm curious about learning the basics of algorithms and data structures, any good books for self study?" And of course that happens all the time too. Chapter 1 is "here's what intervals like major 3rd and perfect fifths are", Chapter 2 is "here's the major scale and all its diatonic modes and ii-V-I progressions", Chapter 3 is "here's how you might use the Phyrigian mode to play over a Sus flat-9 chord" (pg 48).
Recommending Schoenberg and Messiaen as steps to get a sufficient surface of topics covered for "music theory" is performance art in its own regard. Bravo!
I IV V chord progressions and major scales are basic enough I can explain them in a 400 word post from first principles (where no music theory exists except the assertion that the human ear finds the pitch ratios of 2/1, 3/2, 4/3, 5/4, and 6/5 pleasing to the ear, that the human ear wants at least three notes in a chord, and that the human ear wants at least three chords in a progression).
Those books get very complicated very quickly, and cover music that only a relatively few people actually listen to. It was pure gatekeeping, and I’m disappointed people pointing that out were voted down. Not a good moment for Hacker News. It would be like me recommending Lisp or Forth for one’s first programming language.
[1] https://www.abrsm.org/sites/default/files/2023-09/music-theo...
Ah, well, that makes sense. I come from the "music theory is a quintessentially rigid, British-Schoolroom-coded subject that emphasizes rote memorization over actual understanding" school of thought. The musical equivalent to Americans requiring their children to recite the Pledge of Allegiance before they can even understand what the words mean.
The student seeking to build their understanding asks: why is the order of sharps FCGDAEB? Why is the mode with a sharp 4th note the Lydian mode?
Music theory responds: Because fuck you, that's why.
Same with many activities. Pedagogy and real-world use are different goals. Result is a confusing and horrible learning curve.
Maybe their needs to be a “music theory for engineers” like we have “physics for poets.”
Some people are okay with being told "memorize this list of arbitrary factoids" and there's nothing wrong with that, I'm just not one of those people who can pretend that that's good pedagogy.
I don't think rote memorization is super useful for me as a player- I've heard a lot of analysis that sounds "accurate" but often it doesn't follow my own thoughts and understandings.
If folks are playing, that raises questions about "why this here" and it's nice to have vocabulary for to understand. But I see a lot of folks (there are several in this thread) who think that is a bit backwards- that somehow folks could start with an abstract rule set and learn much. If that's the view on what is happening then I agree that "teaching theory is impossibly hard".
But if learning to play comes before the theory about why we play what we play the situation is a lot easier.
Almost all the theory I have comes from applying the stuff from "theory" books to what I do.
I learned what a secondary dominant sounds like by learning I should stay in an A chord instead of an Am in the turn around in G major blues songs long before I got the concept of what that C# might do to the local tonicity of the tune from whatever theory book.
And I think that's a reasonable way to learn: start playing whatever, try to pick up something you can read for (I read double bass and clarinet pretty well) take up a lot of piano (weather you read it or not), play a bunch with musicians, and eventually the arbitrary facts about your practice sort themselves out.
It's the culmination of years spent chasing an explanation of where all this stuff came from.
Highly informed by Tymoczko, who was mentioned in a sibling reply, and a bunch of other thinkers on the topic.
Ableton's teachings are far more interesting in my opinion, even if extremely more limited.
D major: D E F♯ G A B C♯
D minor: D E F G A B♭ C
Db major: D♭ E♭ F G♭ A♭ B♭ C
Db minor: D♭ E♭ F♭ G♭ A♭ B♭♭ C♭
My point was not to showcase my confusion, rather to reinforce the fact that music theory texts are just generally low quality, and music theory as a field seems to be okay with that.
Second, it literally has a chapter on Popular Music and another on Jazz Theory, and "Classical" is not found in its chapter titles. So I don't think your critique is accurate.
Third, history and time matter. "Theory" came first in "classical" contexts, with codified rules pre-dating even Bach. Jazz was a much later invention that built upon these and other traditions. Both of the Jazz theory books I used in my BA in Music Theoryhad many elementary topics already covered in Classical contexts.
If programming is an analogy, it's said that once you've learned your first language, you can learn any other language in a jiffy. Also, a lot of higher level learning is "learning how to learn." Maybe it's better to have a standardized "first language" that students can learn in depth, and then let them move into other areas at their own discretion.
I don't have a college degree, but for me, classical music lessons were a great preparation for learning jazz, and I've picked up pop, rock, and folk music on my own. In fact, on the instrument that I play, the double bass, gaining proficiency and experience in jazz without that background is a brutal learning curve.
Where this ties in to your point is that part of the reason they really don't want experts is that they rarely have someone whose job it is to teach middle eastern music. They might have a guitar teacher with some experience with oud, a flute teacher who can passably play ney (usually with awful intonation), etc. For most schools, these other types of music are "add-ons" that they have their existing faculty teach.
To me, that above ^ looks like the biggest gap.
To be fair, the book doesn't claim to demonstrate theory of the "world music" (sic, a phrase as bad as it sounds).
My (brief and shallow) understanding is that most scholars of music in the western world just do not have enough knowledge to talk intelligently about non-western genres. Exceptions exist, of course, but they are quite rare.
[Other reason is that there is a lot of gate-keeping. I've seen that in Hindustani/Carnatic classical studies, FWIW, which is one my areas of interest]
Nope! Just the same old, well beaten, rotting corpse of a horse in the form of a musical theory that entirely exists to prop up schenkerian analysis. The one that that racist, elitist music programs have been teaching since well before the 21st-Century. (The way you can tell is because it includes figured bass, which is totally irrelevant to any discussion that isn't about the harmonic style of 18th century european musicians.)
God forbid I want to, oh I don't know, make music that's similar to the kind that I actually listen to on a regular basis? Better understand its underpinnings and what makes it work in the ways that it does? No. Figured bass.
Are you this guy? https://youtu.be/u2NKodxRO4A?si=xdOd7I1f_rnFN85C&t=255
by Robert Hutchinson
88 keys (usually) and unlimited notes.