Monotonality is a theoretical concept, principally deriving from the theoretical writings of Arnold Schoenberg and Heinrich Schenker, that in any piece of tonal music only one tonic is ever present, modulations being only regions or prolongations within, or extensions of the basic tonality.
Alongside the Foundation Program, and often using concepts from the Foundation pieces, students learn arrangement, improvisation, composition, chord-reading, and theory.
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Wenzinger received his basic musical training at the Basel Conservatory, then went on to study cello with Paul Grümmer and music theory with Philipp Jarnach at the Hochschule für Musik in Cologne.
Bufe primarily writes on the problems faced by the modern anarchist movement (as in his pamphlet "Listen, Anarchist!"), and also on atheism, music theory and intentional community.
Donated by Joseph W. Drexel in 1888 to the Lenox Library (which later became The New York Public Library), the collection, located today at the New York Public Library for the Performing Arts, is rich with materials on music theory and music history as well as other musical subjects.
He was born in La Paz, after taking private lessons of music theory, piano and viola in his youth, he began formal musical studies in 1983 at La Plata's National University, Faculty of Beaux Arts in Argentina, under the guidance of Argentinian composer Mariano Etkin.
The composition's title, German for "study of harmony," is found in the title of several music theory texts, including those written by Arnold Schoenberg (1911), Heinrich Schenker (1906), and Hugo Riemann (1893), with Adams explicitly referring to Schoenberg's.
Heinrich Faber (before 1500 – 26 February 1552) was a German music theorist, composer, and Kantor.
This massive work includes writings on philosophy and biography in addition to music theory, and includes no less than 120 complete compositions by composers of the preceding generation (including Josquin, Ockeghem, Obrecht, Isaac and many others).
Johann Philipp Kirnberger (also Kernberg; 24 April 1721, Saalfeld – 27 July 1783, Berlin) was a musician, composer (primarily of fugues), and music theorist.
Johannes Gijsbertus Bastiaans (Wilp, 31 October 1812 - Haarlem, 16 February 1875) was a Dutch organist, composer and music theorist.
Joseph Solomon Qandia Delmedigo (also Del Medigo, ישר מקנדיא, Yashar Mi-Qandia or in Italian Jacopo de Candia) (16 June 1591 – 16 October 1655) was a rabbi, author, physician, mathematician, and music theorist.
He was a contemporary music education pioneer in Finland and a long-running senior music theory teacher in Helsinki Metropolia University of Applied Sciences.
From 1862 to 1865 he taught singing and music theory at the Vienna Conservatory and then at the Hamburg Conservatory until his death.
From 1951 to 1966, he taught music theory and composition at the Music Academy Warsaw.
He is currently the Charles T. Hazelrigg Associate Professor of Music at Centre College in Danville, KY, where he teaches music theory, composition, aural skills, and world music.
Pavao Mašić graduated at the Academy of Music in Zagreb in several studies: the harpsichord in the class of Višnja Mažuran, the organ in the class of Mario Penzar, and the studies of music theory.
After spending time in college studying music theory and composition, Richard moved to Los Angeles where he became a sound designer for E-mu Systems in Santa Cruz and engineer/synth programmer for EFX systems in Burbank.
Unlike divisions of the octave into 19, 31 or 53 steps, which can be considered as being derived from ancient Greek intervals (the greater and lesser diesis and the syntonic comma), division into 34 steps did not arise 'naturally' out of older music theory, although Cyriakus Schneegass proposed a meantone system with 34 divisions based in effect on half a chromatic semitone (the difference between a major third and a minor third, 25/24 or 70.67 cents).
El-Masri studied guitar with Isaac Escaf at a music school in Hammana from 1977–79 and studied guitar and music theory with Joseph Ashkhanyan at the Centre Culturel Espagnol in Beirut from 1979-82.
However, at the same time, he learned music theory under Max Meyer-Olbersleben.
In 1920, Dvarionas went to Leipzig, where he studied piano under Robert Teichmüller at the Conservatory and attended special music theory and composition courses held by Stephan Krohl and Sigfried Karg-Elert.
Intro to Film, and 20th Century Music, Music Theory I, AP Music Theory and Classical Guitar Workshop.
The Academies offer college-level courses in music theory, including AP Music Theory and Advanced Problems in Music Theory.
Born in Farmington, Minnesota, Ellingboe is a 1980 graduate of Saint Olaf College in Northfield, Minnesota, where he received a degree in Music Theory and Composition, studying with Kenneth and Carolyn Jennings.
His most lasting contribution to music theory (researched by contemporary American theorist Richard Cohn) concerns chord relations.
After studying music theory and composition at the University of Wisconsin, he played acoustic 6 and 12 string guitar and published three records: "Guitar" (1973), "Fireheart-Fireriver" (1977), released on Dragon's Egg Records, and "Willow" (1980), released on Windham Hill.
where for a small fee they learn to play an instrument as a hobby and study basic solfège and music theory using methods originated in Hungary by Kodály and further developed by the Hungarian-born Finn Csaba Szilvay and others.
Her teaching posts have included a position in music theory on the faculty at Westminster Choir College in Princeton, New Jersey, a year at Framingham State College in Massachusetts, and her current job since 1997 as an adjunct professor at Regis College.
Evren began violin lessons in grade school and took music theory, piano, and composition lessons at the New England Conservatory extension school at 11 years old.
Andrew Bergeron is instructor of guitar and music theory at Grand Rapids Community College, Grand Valley State University and Aquinas College.
She began her artistic training at Waterloo, Belgium with studying music: 12 years of piano, 5 years of music theory, 4 years of violin and drama in the class of Christian Labeau.
In 1894, Freeman returned to live in Cleveland, and began formal training in music theory under Johann Heinrich Beck, conductor of the Cleveland Symphony (a different organization than the Cleveland Orchestra, which was founded in 1918).
She also started learning music theory and choral direction in the Amadeo Roldán Conservatory, and finished her studies in Switzerland where she studied old chant.
She is currently the John Howard Payne Professor of Music at Union College in Schenectady, New York, where she has been since 1980, teaching courses on music theory and composition, in addition to founding the Union College Orchestra.
He published several works on sound and music theory, including The Musical Scale (1860), a Review of Tyndall on Sound (1872), and a pamphlet describing an instrument of his invention called the tetrachord.
In 1874 he became a teacher and in 1878 director of music theory instruction at the Imperial Conservatory in Kharkiv, in what is now Ukraine.
He received his first musical education (piano, viola and music theory) at Geelong College from George Logie-Smith and later at Melbourne University Conservatorium of Music from Roy Shepherd.
Rameau's 1722 Treatise on Harmony initiated a revolution in music theory.
She studied harp at the University of Wisconsin–Milwaukee with Jeanne Henderson, with Edward Druzinsky of the Chicago Symphony Orchestra, The Eastman School of Music with Eileen Malone and Indiana University with Susann McDonald, specializing in harp and music theory.
He has completed Grade 8 in both Piano and Music theory through Trinity College London and also obtained his degree in Classical compositions and film scoring under Australian Composer Lindsay Vickery at the LASALLE College of the Arts, Singapore.
As an academic affiliated with the University of Coimbra, he authored works on music theory and the history of music as well as introductory texts concerned with raising public awareness of classical music; his collection of essays A Música, essa desconhecida became a popular introduction to music history in Portugal.
For his secondary education, he studied music theory at Norton College, and it was here that his talent blossomed.
After completing her studies, she worked as professor of music theory at the Conservatoire of Aubervilliers, and in 1983 became a professor of music analysis at the Paris Conservatoire.
She attended classes at the RCMT through 1958 where her professors included Gordon Hallett (piano), Weldon Kilburn (piano), and John Weinzweig (music theory and composition).
He studied at University of California at Berkeley (Experimental Quantum Physics); Stanford University (Semiconductor Device Physics); the Institute for Theoretical Physics at University of Helsinki (Theoretical Physics) and Helsinki Conservatory of Music (Classical Piano and Music Theory).
It includes ornithological, theological, church historical, political, geographical, art historical and mathematical works, and literature on music theory dating back to the 16th century.
After studying piano with Franz Barraga and music theory with Otto Muller he became a pupil of Theobald Boehm, who helped the young flutist establish his successful career.
She earned a Master of Music in Composition and a Master of Arts in Music Theory at Florida State University where she studied with Mark Wingate and Ladislav Kubik.
Perkins studied music theory and composition with Martin Amlin, Richard Cornell, Charles Fussell, and Marjorie Merryman at the Boston University College of Fine Arts.
In 1838 he received a 3-year scholarship which he used to stay in Dessau, where he studied music theory and composition with Friedrich Schneider.
Stony graduated from Reykjavík College of Music with a degree in jazz drumming and music theory.
Suzanne Giraud was born in Metz and grew up in Strasbourg, where she began to study music for piano, violin, viola and music theory before entering the Paris Conservatoire.
He taught music theory and composition at Philadelphia's New School of Music (now part of the Boyer College of Music at Temple University).
In 1974 she received a DAAD scholarship to study in Germany and entered the Freiburg Musikhochschule, where she studied composition with Klaus Huber, analysis with Brian Ferneyhough, music theory with Peter Förtig and piano with Edith Picht-Axenfeld.