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This translation of Musique au singulier (2001) from the French identifies what is common to music of all times and cultures. The author, François-Bernard Mâche is a composer and internationally renowned musicologist. He addresses the question of universals in music and demonstrates how musical play is a poetic and natural game that already takes shape in the animal world. Mâche invites the reader to reconsider the traditional opposition between nature and culture and to reflect on experiencing such intense emotions when both listening to and manipulating sounds. This title appeals to students and researchers working in musicology.

Music theory. --- Theory of Music.

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Music theory --- Music --- Musical theory --- Theory of music --- Theory

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Rhythms, melodies, and harmonies are the building blocks of music. In Music Theory Secrets: 94 Strategies for the Starting Musician, Brent Coppenbarger offers a full range of methods to help musicians, not only grasp, but remember those key elements upon which the music they play is built: pitch, rhythm, scales, key signatures, and harmony.

Music theory. --- Music --- Musical theory --- Theory of music --- Theory

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We perceive silence in music essentially when its time seems to stand still: for example, immediately before the beginning of a work. Silence dwells there outside the sounding music; John Cage forced it into a work in 1952. Inaudible because continuously silent, 4'33'' blurs the boundaries of the work and at the same time embodies the principle of the silent fermata: an infinitely large period of time. The ancient Greek theory of time and music predicted its condition of possibility as the place of the world soul: an eternally recurring zero point of time. Erwin Schulhoff's eye music In futurum (1919) declined it with pause signs. And as early as 1607, Claudio Monteverdi's prologue to Orfeo transformed the silent standstill into an imperative of stillness. In Franz Schubert's and Robert Schumann's music, two other places of silence can be recognized: in silence as a tonal goal, which is sought in vain in Schubert's Piano Sonata in B-flat Major (1828), and in the tone of zero volume, which, as an infinitely distant sound, transcends the geometric system of notation. Stille in der Musik nehmen wir im Wesentlichen dann wahr, wenn ihre Zeit stehenzubleiben scheint: etwa unmittelbar vor dem Beginn eines Werkes. Stille weilt dort außerhalb der erklingenden Musik, John Cage drängte sie 1952 in ein Werk hinein. Nicht hörbar, weil durchgehend schweigend, verwischt 4’33’’ die Werkgrenzen und verkörpert zugleich das Prinzip der stillen Fermate: ein unendlich großer Zeitraum. Dessen Möglichkeitsbedingung zeichnete die antike griechische Zeit- und Musiktheorie als Ort der Weltseele vor: ein ewig wiederkehrender Nullpunkt der Zeit. Erwin Schulhoffs Augenmusik In futurum (1919) deklinierte ihn mit Pausenzeichen aus. Und bereits 1607 überführte Claudio Monteverdis Prolog des Orfeo den schweigenden Stillstand in ein Gebot des Stillseins. In Franz Schuberts und Robert Schumanns Musik lassen sich noch zwei andere Orte der Stille erkennen: in der Ruhe als tonales Ziel, das in Schuberts Klaviersonate B-Dur (1828) vergebens gesucht wird, und im Ton der Lautstärke Null, der als unendlich entfernter Klang das geometrische Notationssystem übersteigt.

Theory of music & musicology --- silence --- stillness --- musical notation --- phenomenology

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muziektheorie --- Music --- anno 1500-1599 --- Germany --- Music theory --- Musical theory --- Theory of music --- Theory