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Doublereed Archive - Posting 000009.txt from 2004/04
From: "Todd M. Zimnoch" <toddz@-----.net>
Subj: Re: [DR-L] Music Theory Quiz #1
Date: Fri, 2 Apr 2004 10:25:58 -0500
I'll take the bait.
At 12:57 AM 4/2/2004, Bear Woodson wrote:
Music Theory Quiz #1
1) a) What is the Proper Name for the "Study of
Harmony", (according to leading conservatories
and universities around the world)? (If you
answered "Harmony", you are one of the millions
who is SO ignorant, that you are part of the
problem!) The reason that this Field of Study has
a special name is because it includes a number of
topics, to make a more complete picture, of which
"harmony" is only one central part.
1) b) Name as many relevant other topics, as you
can, that are included in this Field of Study along
with "harmony".
===
1 a&b. I assume you mean "music theory". The study of harmony is
called harmony in both its tonal and non- varieties. If I were taking
a "theory" course I'd expect to receive instruction on harmony, counter
point, rhythm, solfege, and so on. If I want a course on harmony, I
take a course entitled, creatively, "harmony".
===
2) Correctly Spell the 4 Colors of Tonal Triads,
the 3 Colors of Quartal Triads, and One example
of a "Pure" Duodecuple Triad, all rooted (or at
least starting on) the note C:
A. 4 Colors of Tonal Triads, in Root Position
1) C, _ , _ .
2) C, _ , _ .
3) C, _ , _ .
4) C, _ , _ .
B. Quartal Triads
1) C, _ , _ .
2) C, _ , _ .
3) C, _ , _ .
C. One "Pure" Duodecuple Triad example
1) C, _ , _ .
===
2a)
Major - C E G
Minor - C Eb G
Diminished - C Eb Gb
Augmented - C E G#
2b)
C F Bb
C F B
C F# B
2c)
C G D
===
3) A "Fully Chromatic Melody" differs from a
"12-Tone Formula" because, although it uses all 12
Pitches, it "usually repeats some of the 12 pitches,
and can be harmonized Tonally, Modally or with a
12-Tone Formula". Some 20th Century Composers
were notorious for using many "Fully Chromatic
Melodies" while NEVER harmonizing them with
a 12-Tone Formula, like American Composer
Samuel Barber (1910-1981). Earlier composers
to use "Fully Chromatic Melodies" were:
a) Franz Liszt (1811-1886)
b) Wolfgang Amadeus Mozart (1756-1791)
c) Johann Sebastian Bach (1685-1750)
d) many 20th Century American Jazzers
e) all of the above.
===
Since I know Liszt applies and would be shocked that Jazz doesn't, can
I guess e?
===
4) Attempts at 12-Tone Harmony were used
briefly and/or jokingly by:
a) Country/Western singer Charlie Daniels
b) Folk Singer Bob Dylan
c) Josquin Des Prez (ca. 1440-1521)
d) Wolfgang Amadeus Mozart (1756-1791)
===
You forgot to list Bear Woodson as an option. *snicker*
===
5) In 20th Century Counterpoint, the word
"Inversion" means that the original melody has
now been carefully written out "Upside-Down".
Inversion has:
a) only been invented and used by 12-Tone
Formula composers since the 1920's.
b) only been used since 1900, but by both
12-Tone and Non-12-Tone composers.
c) been used by Wolfgang Amadeus Mozart
(1756-1791) and Johann Sebastian Bach
(1685-1750).
d) been used by many masters of counter-
point since the Baroque Era, and maybe
even earlier.
===
Bach has a rather famous example of palindromic music that plays the
same when the music is physically turned upside-down, but D, of course.
===
If you are an Amateur Musician, you need to
learn the answers to Question #2, as they are
fundamental and sadly are NOT known to
enough Amateur Musicians! The answers to
Questions # 3, 4 and 5 might surprise many
people.
===
That is, of course, opinion. I don't think it's necessary that
someone understand the mechanics of harmony to be able to feel and
relate its function to an audience. The number of left-brained math
geeks who understand theory in its minutiae and are passionless
performers is at least some evidence.
You seem to expect that the performer and audience both need to know
in order to understand. I assure you this is not true. I have played
enough music for theory philistines that they have appreciated and
enjoyed to believe otherwise, including such composers as Nielsen,
Poulenc, Joan Tower, William Bolcom, Ginastera, non-12-tone Schoenberg,
Janacek, and especially Gershwin. They like the music because despite
its complexity, it's approachable, comprehendable, and most of all,
enjoyable. And those are the same qualities in music that draw them
towards (*gasp*) simple pop music. If you're still unconvinced, ask
non-musicians what they think of The Simpsons' theme song.
I don't doubt you know your stuff, but I cannot fathom that your
vocal, acerbic disdain for both ignorance and those who wield it should
ever make you an enjoyable teacher.
Ironies are not lost on good composers, e.g., one can take a
traditional, celebratory dance and make it violent or eulogistic. So
did you mean to berate and insult the entire readership of this list
despite your professed desire to educate? You've had the former
effect.
-Todd
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