Chapter Four. Yuelü: Music Theory and practice

2008 ◽  
pp. 75-112
Keyword(s):  
Music Theory ◽  
Theory And Practice

scholarly journals Kelas Gitar Akustik Berbasis Pembelajaran Kooperatif

2020 ◽  
Vol 4 (2) ◽  
pp. 137
Author(s):  
Riyan Hidayatullah ◽  
Prisma Tejapermana
Keyword(s):  
Cooperative Learning ◽  
Music Theory ◽  
Positive Response ◽  
Theory And Practice ◽  
Learning Design ◽  
Learning Method ◽  
Learning Methods ◽  
Home Group ◽  
Acoustic Guitar ◽  
Musical Understanding

This article examines learning acoustic guitar in formal schools employing cooperative learning design. The problem is focused on students’ perceptions of the difficulty of interpreting theory, teacher mastery of music theory, and the learning methods used. This study aims to describe the cooperative learning method implemented in acoustic guitar classes at schools (N = 30). Data were collected through observation, interviews, and documentation to be analyzed qualitatively using an interactive model (Miles et al., 2014). The guitar learning process is carried out in groups by breaking the home group and the expert group. Music material in group interaction is in the form of theory and practice. Based on observations of students’ musical abilities, there is an increase in knowledge of music theory and practice in guitar classes. Students receive the highest score on the aspects of sound accuracy, chord progression to the song, and the time expended learning the song. This study concludes that learning acoustic guitar applying cooperative learning methods is effective in enhancing students’ musical understanding through appreciation and creation. Appreciative attitude turns out as a manifestation of a positive response affective.

Technology in a New Key: Toward a Reexamination of Musical Theory and Practice in the Zeng Hou Yi 曾侯乙 Bells

T oung Pao ◽  
2020 ◽  
Vol 106 (3-4) ◽  
pp. 219-265
Author(s):  
Scott Cook
Keyword(s):  
Music Theory ◽  
Theory And Practice ◽  
Twelve Tone ◽  
Frequency Measurements ◽  
Warring States ◽  
Pitch Frequency ◽  
Scale Structures

Abstract This paper takes a fresh look at music-theoretical information to be gleaned from a comparison of pitch-frequency measurements to inscriptional information from the massive bronze bell-set excavated from the tomb of Marquis Yi of Zeng and attempts to place it in the context of knowledge derived from received texts of Warring States China. After examining several textual witnesses to conceptions of music theory from that era, the paper observes how similar conceptions may have informed the inscribers of the Zeng bells, who employed a system of nomenclature that diverged in subtle yet important ways from formulations of their philosophical counterparts. The final two sections explore possible implications of the bells’ relatively unique terminology from the standpoints of scale structures and musical temperament, respectively, looking for consistent patterns of tone-to-key distributions and clues to the possible deployment of a system of intonation designed to temper the twelve-tone gamut.

scholarly journals Music Theory, Mathematics, and Patterns of Innovation in the Saṅgītaratnākara

2018 ◽  
Vol 72 (2) ◽  
pp. 395-419
Author(s):  
Alessandra Petrocchi
Keyword(s):  
Thirteenth Century ◽  
Music Theory ◽  
Knowledge System ◽  
Theory And Practice ◽  
Seminal Work ◽  
And Mathematics ◽  
Medieval India ◽  
Literary Practices ◽  
And Function ◽  
The Relationship

AbstractThis paper investigates the relationship between textuality and mathematics in theSaṅgītaratnākara, a Sanskrit work on music composed in the thirteenth century by Śārṅgadeva. Within the traditional Sanskrit knowledge system on musicology, theSaṅgītaratnākaracan be regarded as a seminal work, given the commentaries it has inspired and the innovative features it contains. I shall explore some textual aspects which, in Medieval India, have contributed to establish the authority of this text and whose significance can be traced in later works. Among these are types of verbalization and mathematical procedures whose role, I shall argue, is entirely theoretical. In theSaṅgītaratnākara, calculations and diagrams underline an innovative language of musical speculation, as well as the relationship between theory and practice and the shaping influence of otherśāstrictraditions. The set of conventions which are based on a vocabulary and methods shared with other technical literatures, particularly prosody and mathematics, attests the variety of literary practices introduced by Śārṅgadeva. I shall argue that this text builds up a code whose aim and function are not necessarily musicological in character. Although orality clearly retains its special status as the archetype of learning, Śārṅgadeva’s contribution manifests the autonomy of literature on saṅgītaas an “art” which constitutes an independent sphere of activity, defining its own rules, and adhering to its own criteria of value.

Interview with Michelangelo Zurletti

2018 ◽  
pp. 359-364
Keyword(s):  
Music Theory ◽  
Work Force ◽  
Theory And Practice ◽  
Live Electronics ◽  
Starting Point ◽  
Force Potential

This chapter presents an interview with Michelangelo Zurletti. It covers topics such as the split that took place between music theory and practice; whether the Italian conditions, the rare opportunities for work, force potential researchers to take what they can find; and the discovery of live electronics. He says that tape is no longer used, and, therefore, nothing is predetermined. The starting point is the study of sound in relation to the sound space, conducted analytically in Freiburg. The genuinely new factor is the musical component of the space. One works for days with the space to understand what can be done. No longer is there a predetermined distribution of the orchestral sound, but rather a sound that is newly created time after time.

The chromatic scales of the Deuteros modes in theory and practice

2005 ◽  
Vol 14 (1) ◽  
pp. 1-10 ◽  
Author(s):  
EUSTATHIOS MAKRIS
Keyword(s):  
Present Article ◽  
Music Theory ◽  
Oral Tradition ◽  
Theory And Practice ◽  
Modern Greek ◽  
Wide Acceptance ◽  
One Step ◽  
Byzantine Era ◽  
Liturgical Chant ◽  
New Interpretation

The idea that the Deuteros modes (second authentic and second plagal) of Greek liturgical chant already had a chromatic character before the end of the Byzantine era has gained wide acceptance in the last decades. Trying to go one step further and reconstruct the scales of these modes, the present article attempts a new interpretation of certain crucial passages in late Byzantine treatises, which can provide important clues, if interpreted in connection with the description of the modes in modern Greek music theory and their actual characteristics in the written and oral tradition. The resulting structures can serve as a basis for future transcriptions of chants, at least for the late and post-Byzantine repertory.

Sign in / Sign up

Export Citation Format

Share Document