Revisiting Music Theory: A Guide to the Practice contains the basics of music theory with the vocabulary used in harmonic and formal analysis. The book assumes few music reading skills, and progresses to include the basic materials of music from J. S. Bach to the twentieth century. Based on Blatter’s own three decades of teaching music theory, this book is aimed at a one or two year introductory course in music theory, can serve for individual study, or as a review for graduate students returning to school. Drawing examples from well-known classical works, as well as folk and popular music, the book shows how theory is applied to practice. The book is divided into five parts. The first part introduces music notation, reviewing the basics of pitch, time, and dynamics as represented in written music. Part 2 introduces the concept of melody, covering modes, scales, scale degrees, and melodic form. Part 3 introduces harmony, dealing with harmonic progression, rhythm, and chord types. Part 4 addresses part writing and harmonic analysis. Finally, Part 5 addresses musical form, and how form is used to structure a composition. Revisiting Music Theory will be a valuable textbook for students, professors, and professionals.

Revisiting Music Theory: Basic Principles, Second Edition, surveys the basics of music theory and explains the terms used in harmonic and formal analysis in a clear and concise manner. Students will find Revisiting Music Theory to be an essential resource for review or reference, while instructors of introductory theory courses will find in these pages a solid foundation for cultivating musical thinking. Musicians of all kinds—amateur and professional alike—will find great value in augmenting and informing their knowledge of the art of music theory. The text covers the basic principles of music theory, including: • Musical notation • Key signatures and scales • Intervals, chords, and progressions • Melodic and harmonic analysis • Counterpoint and voice leading techniques • Musical forms and structures This second edition has been revised and reorganized to promote learning. Each section now includes an all-new selection of exercises, allowing readers to practice key skills and improve understanding. For students, instructors, and practicing musicians, Revisiting Music Theory offers an indispensable guide to the foundations of musical analysis.

Operating largely within the world of European-American classical music, this book discusses the creative work of old musicians—composers, performers, listeners, and scholars—and how those forms of music- making are received and understood. Like everything else about old age, music-making is usually understood as a decline from a former height, a deficiency with respect to a youthful standard. Against this ageist mythology, this book argues that composing oldly, performing oldly, and listening oldly are distinctive and valuable ways of making music—a difference, not a deficit; to be celebrated, not ignored or condemned. Instead of the usual biomedical or gerontological understanding of old age, with its focus on bodily, cognitive, and sensory decline, this book follows Age Studies in seeing old age through a cultural lens, as something created and understood in culture. This book seeks to identify the ways that old musicians (composers, performers, listeners, and scholars) accept, resist, adapt, and transform the cultural scripts for the performance of old age. Musicking oldly (making music in old age) often represents an attempt to rewrite ageist cultural scripts and to find ways of flourishing musically in a largely hostile landscape.

An ambitious and long-awaited text that sets out the basic practices and principles of approaches to music therapy that place music and music experience in a central role. The text provides a philosophical and practical rationale for music experience as a legitimate goal of clinical music therapy. An historical account is given of music-centered thinking in music therapy and the manifestation of this way of thinking in various contemporary music therapy models. The latter part of the book develops the specifics of a particular music-centered theory that is meant to be applicable across different domains of treatment. This book is essential for readers interested in the development of theory in music therapy, for music-centered practitioners who have been searching for a vocabulary and conceptual framework in which to articulate their clinical approach, and for anyone interested in the intrinsic value of music experience for human development.