Theoria musicae

Theoria musicae, etiam musica theorica appellata, est cognitio rationum quibus efficitur musica. Ea est scientia multiplex, una fortasse dissimilis aliarum scientiarum, ut tam multis de physica tam de motibus gustatibusque animi hominum comprimitur. Id est musicam perplane scrutinare, a proprietatibus sonorum, ad partes auris quae sonos interpretantur, ad regulas compositionum, ad effectus quos musica auscultantibus imprimit. Ea saepe dicitur deductio ex artificiosis Europae studiis musicis.

Ancient Egyptian musicians playing lutes in an ensemble.

Copia campanarum ex Sinis, saeculo quinto a.C.n.

Exemplar graduum totorum et dimidiorum modo Ionico, vel diagramma maius in C conditum Play info.

Theoria musicae linguam notationemque musicae tractat. Ea exemplaria et consuetudines artis compositorum, acroamatum, et auditorum petit, trans vel intra genera, modos, et aetates historicas. Sensu lato, ea prima musicae parametra vel elementa vehementius dicit et explicat: rhythmum, harmoniam (functionem harmonicam), melodiam, structuram, formam, texturam, etc. Theoria musica ergo ullam sententiam, opinionem, vel notio musicae comprehendit. Qui eas proprietates cognoscat theorista musicae appellatur. Aliqui acousticam, physiologiam humanam, et psychologiam adhibuerunt ad rationes et causas explicandas quibus musica percipiatur.

Melodia

Tonus C medium (261.626 Hz) Play info.

Melodia carminis "Pop Goes the Weasel" (Kliewer 1975) Play info

Series tonalis in Lyric Suite Albani Berg, movimenti I. Play info

Augustinus musicam ipsam sic definivit: "Musica est scientia bene modulandi." Saeculis antiquis, musica modulatione quae nostro tempore appellatur melodia praecipue consistebat, et rhythmus modulationis e rhythmo verborum veniebat. Ab Aevo Renatarum Artium et per saecula usque ad tempus nostrum, bonae modulationes debent habere easdem has res: motum plerumque gradualem, directionen melodiae post magna intervalla versam, et summum punctum prope mediam phrasin melodicam.

Harmonia

Verbis Hucbaldi, "Harmonia est diversarum vocum apta coadunatio." Papias, Marchettus, et Isidorus similia scripserunt, hanc rem appellantes ita symphoniam.

Harmonia est sonus qui venit cum plus quam una vox concinitur. Rameau, natus anno 1683, scripsit de theoria harmoniae, modos quibus alii compositores musicam scribere viderentur describens. Rameau refert progressionem harmoniae de tono fundamentali pendere.

Rhythmus

Rhythmus est vocabulum quod indicat partem temporalem musicae. Antiquitate Classica, rhythmus carminis cantati fere semper versuum numeros sequebatur, et item Medio Aevo rhythmus naturalis verborum canendorum partem rhythmicam cantus melodiae adfecit, et fuit ratio principalis ad rhythmum versuum faciendum. Sed inter figurationes primas, nihil ostendit rhythmum cantuum, ergo adhuc discendus erat auscultando. Modi ad rhythmum legendum creati sunt et per saecula multo mutaverunt. Signis additis, figuratio minutatim plura de tempore ferre coepit, et notulis recte scriptis musici potuerunt discere cantus novos. Ut hoc facerent, multa elementa rhythmica inclusa sunt figuratione, exempli gratia, metrum, ictus, et spatium per quod voces tenendae essent.

Nexus interni

• Aesthetica musica
• Ethnomusicologia
• Fuga
• Iohannes Placentius
• Leitmotif
• Motus obliquus
• Musicologia
• Haec pagina macris annotata
• Thema BACH
• Tonus

Bibliographia

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• Boretz, Benjamin. 1995. Meta-Variations: Studies in the Foundations of Musical Thought. Red Hook, New York: Open Space.
• Benward, Bruce, et Marilyn Nadine Saker. 2009. Music in Theory and Practice, eighth edition, vol. 2. Boston: McGraw-Hill. ISBN 978-0-07-310188-0.
• Bent, Ian D., et Anthony Pople. 2001. "Analysis." The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Castan, Gerd. 2009. "Musical Notation Codes". Music-Notation.info (Accessed 1 May 2010).
• Cavanagh, Lynn. 1999. A Brief History of the Establishment of International Standard Pitch A=440 Hertz. PDF. Accessum 1 Maii 2010.
• Gauldin, Robert. 1985. A Practical Approach to Sixteenth-Century Counterpoint. Waveland Press, Inc.
• Grout, Donald Jay. 2006. A history of western music. Ed. 7a. Novi Eboraci: W. W. Norton & Company.
• Harnsberger, Lindsey C. 1997. "Articulation". Essential Dictionary of Music: Definitions, Composers, Theory, Instrument and Vocal Ranges, second edition. The Essential Dictionary Series. Los Angeles: Alfred Publishing Co. ISBN 0-88284-728-7.
• Jackendoff, Ray, et Fred Lerdahl. 1981. "Generative Music Theory and Its Relation to Psychology." Journal of Music Theory.
• Josephs, Jess L. 1967. The Physics of Musical Sound. Princeton, Toronto, London: D. Van Nostrand Company, Inc.
• Kostka, Stefan. 1999. Materials and Techniques of Twentieth-Century Music. Ed. 2a. Prentice-Hall, Inc.
• Kostka, Stefan, et Dorothy Payne. 2004. Tonal Harmony. Ed. 5a. Novi Eboraci: McGraw-Hill.
• Kramer, Jonathan. 1988. The Time of Music. New York: Schirmer Books.
• Lerdahl, Fred. 2001. Tonal Pitch Space. Oxford: Oxford University Press.
• Lewin, David. 1987. Generalized Musical Intervals and Transformations. New Haven: Yale University Press.
• Lloyd, Llewellyn S., et Hugh Boyle. 1978. Intervals, Scales and Temperaments. New York: St. Martin's Press. ISBN 0-312-42533-3.
• Olson, Harry F. (1967). Music, Physics and Engineering. New York: Dover Publications. ISBN 0486217698 
• Stevens, S. S., J. Volkmann, et E. B. Newman. 1937. "A Scale for the Measurement of the Psychological Magnitude Pitch". Journal of the Acoustical Society of America 8, no. 3:185–90.
• Yamaguchi, Masaya. 2000, 2006. The Complete Thesaurus of Musical Scales. Novi Eboraci: Charles Colin (2000); Masaya Music (2006). ISBN 0-9676353-0-6.