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for variable Instrumentation
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This course is about how music works. It is about the relationship between the technical and aesthetic details of music. It is also about how developing a meaningful theoretical vocabulary can help you think and talk about musical style, and how learning that vocabulary can expand your appreciation for music. In this course you will learn music theory not by looking at theory itself, but by listening to, looking at, and—yes! By hearing, seeing, and writing yourself, you will learn about classical, modern, ancient, pop, jazz, and folk styles. Through lectures, relevant examples, and numerous practice assignments, we will examine fundamental aspects of melody. We will move into working with two voices and counterpoint, and finally to three voices and the beginnings of harmonic function. This is an intermediate-level course for musicians and composers who already have some understanding of music theory through previous study. If you are a musician or composer looking to build a deeper understanding of music theory for composing, performing, or improvisation, you have come to the right place.
Copyright by James Pritchett. All rights reserved. We've now played the Winter music quite a number of times. I haven't kept count. When we first played it, the silences seemed very long and the sounds seemed really separated in space, not obstructing one another. In Stockholm, however, when we played it at the Opera as an interlude in the dance program given by Merce Cunningham and Carolyn Brown early one October, I noticed that it had become melodic. After listening to this performance of Winter music with Atlas eclipticalis , the question that arose in my mind was: What did John Cage mean by the title Winter music? What is its significance?