The aim of this article is to perhaps unravel some of the "mysteries" regarding Music Theory.
As defined a theory is:An idea or notion that has yet to be proven by scientific or other methods.A disclaimer in Cobb County Ga. biology textbooks reads: "Evolution is a theory, not a fact, regarding the origin of living things." This was debated in the courts, however, in an absolute sense, this is true. Theories are proposed or accepted explanations based on assembled evidence. But in music and science, many theories - the theory of gravity, for example - enjoy near universal acceptance due to the preponderance of evidence and the success of the model. In 1722 Jean-Phillipe Rameau published his famous "Treatise on Harmony." The designation of Roman Numeric chord symbols for the triads, and their relation to the degrees of the scale are still in practice today. Modern music theory encompasses the vast output of compositional determinants that extend from early Gregorian chant and parallel organum to the rise of polyphony and continuing all the way to the structure of Atonal music. Anything produced musically can be rationalized by mathematical process. In earlier forms, basic music theory will apply. However, in the structure of Atonal, 12-tone or tone row composition, earlier models would no longer apply. Set-theory, both linear and non-linear, ascribe to acheive the model for modern 20th century atonal composition.
The designation for my model of music theory is known as Sonic Mechanics. The manipulation of sound to be used in the architecture of music as an art form.
For many years College educated musicians graduated from music school with a knowledge of Music Theory and Analysis that should afford them the oportunity to freely improvise their thoughts and ideas within the context of the instrument and musical genre of their choice. However, many students depart music school without the ability to improvise.
Unfortunately, many Colleges and Universities are remiss in affording you the proper tools for improvisation unless they specifically offer such classes. I'm sure there will be many professors in my field to argue this , so allow me to explain further. Many of the theoretical principles we are taught, relevant to music education, often lack a very significant factor; free creative thought without any Rules and Regulation attached. Many schools insist you learn the rules before you are allowed to disregard them.
How does one, therefore, perform the music that exists only in the mind and creative soul of the individual? If the education system could unlock the potential of the previous question, there would be more musicians produced that have the sensitivity to create that which lies within.
How many of us have attended music school in order to acquire the technique necessary to manipulate our instruments to a high degree, but lack the skills necessary to sit in with a Blues band or a small combo? Even those ensembles that play the most simple forms and styles of music. The answer lies within the context of the present curriculum.
I have been a music educator for over 20 years. You would be surprised at the number of students I encounter that have never been instructed in basic,adequate practice skills (See my article on this site). This is by no means an attempt to undermine the education system, but rather to overcome certain inadequacies that are present in old school thought.
One of the few brilliant Music Theory instructors I have had the privelege of working with, Dr. Larry Solomon at Pima Community College/ University of Arizona in Tucson , once stated that formal music instruction can actually impede ones ability to freely improvise on their instrument of choice. This is a powerful statement and one you will not likely hear from most P.H.D.s in our field. If you are seeking the most advanced "cutting edge" thoughts on Music Theory and Composition, visit Dr. Solomon's Website by clicking HERE.Use back button to return.
Just as Einstein once said, "Imagination is more important than knowledge," I contend that the ability to hear ones innermost musical thoughts and realize them is more important than the ability to analyze a Bach Chorale, or to engage in Schenker Analysis to determine the "Ursatz" of a given composition.
My students are given the opportunity to think for themselves,and are also afforded the opportunity to experiment with their own musical thoughts. I do my best to allow them the flexibility to realize whatever they want within the context of their studies.
The following is a series of articles that deal
with the subject of improvisation from
both an educated musicians standpoint, as well as those
of us who have never taken a music lesson but have the ability to
create and compose almost any type of music that can be concieved.
