Comment author:komponisto
19 January 2011 01:27:10AM
4 points
[-]
I have been using Harmony and Voice Leading for a little while. Is An Introduction to Tonal Theory really that much better?
Yes.
Don't get me wrong, Aldwell and Schachter are about the best you can do while still remaining in the traditional "vocabulary of chords" paradigm. (You can even see how they tried to keep the number of "chords" down to a minimum.) Unfortunately, that paradigm is simply wrong.
Also, Aldwell and Schachter, brilliant musicians though they may be (especially Schachter), lack the deeper intellectual preoccupations that Westergaard possesses in abundance. One should perhaps think of their book as being written for students at Mannes or Julliard, and of Westergaard's as being written for students at Columbia or Princeton. (There is a certain literal truth to these statements.)
I've always felt that the way they explain concepts is very hand wavy and doesn't really explain anything and I tend to prefer things to be more mathematical or abstract.
Comment author:TessPope
11 February 2011 03:00:31PM
1 point
[-]
"One should perhaps think of their book as being written for students at Mannes or Julliard and of Westergaard's as being written for students at Columbia or Princeton. (There is a certain literal truth to these statements.)"
As a graduate of Juilliard I am curious about this assertion. Care to elaborate? Not that I personally have ever had much use as a performer for abstract notions about music theory. My experience has been that it gets in the way of actually performing music. Which leads to the question 'why should this be so' ? Those of my colleagues who were great adepts at theory were uninspired performers of the music they seemed to understand so well. All head and no heart. But why? I can understand that they are different skill sets, but why should they not be complementary skill sets?
I imagine that on this site, alarm bells may go off as I make an observation from experience, but I do not think that it would be possible to use any sort of methodology or system analysis to determine who is and who is not an inspired performer. Just try figuring out how orchestral auditions are run! Now that is a sloppy business!
Regarding textbooks: have any of you read W.A. Mathieu's
W.A. Mathieu
Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression (1997) Inner Traditions Intl Ltd. ISBN 0-89281-560-4.
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Yes.
Don't get me wrong, Aldwell and Schachter are about the best you can do while still remaining in the traditional "vocabulary of chords" paradigm. (You can even see how they tried to keep the number of "chords" down to a minimum.) Unfortunately, that paradigm is simply wrong.
Also, Aldwell and Schachter, brilliant musicians though they may be (especially Schachter), lack the deeper intellectual preoccupations that Westergaard possesses in abundance. One should perhaps think of their book as being written for students at Mannes or Julliard, and of Westergaard's as being written for students at Columbia or Princeton. (There is a certain literal truth to these statements.)
You'll love ITT.
"One should perhaps think of their book as being written for students at Mannes or Julliard and of Westergaard's as being written for students at Columbia or Princeton. (There is a certain literal truth to these statements.)"
As a graduate of Juilliard I am curious about this assertion. Care to elaborate? Not that I personally have ever had much use as a performer for abstract notions about music theory. My experience has been that it gets in the way of actually performing music. Which leads to the question 'why should this be so' ? Those of my colleagues who were great adepts at theory were uninspired performers of the music they seemed to understand so well. All head and no heart. But why? I can understand that they are different skill sets, but why should they not be complementary skill sets?
I imagine that on this site, alarm bells may go off as I make an observation from experience, but I do not think that it would be possible to use any sort of methodology or system analysis to determine who is and who is not an inspired performer. Just try figuring out how orchestral auditions are run! Now that is a sloppy business!
Regarding textbooks: have any of you read W.A. Mathieu's
W.A. Mathieu Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression (1997) Inner Traditions Intl Ltd. ISBN 0-89281-560-4.