Music is an important domain of application for schema theory. The perceptual structures for pitch and timbre have been mapped via schemata, with results that have contributed to a better understanding of music perception. Yet we still need to know how a schema comes into existence, or how it functions in a particular perception task. This book provides a foundation for the understanding of the emergence and functionality of schemata by means of computer-based simulations of tone center perception. It is about how memory structures self-organize and how they use contextual information to guide perception.

Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style."

An original, listener-based approach to harmony for popular music from the rock era of the 1950s to the present

Music Theory operates with a number of fundamental terms that are rarely explored in detail. This book offers in-depth reflections on key concepts from a range of philosophical and critical approaches that reflect the diversity of the contemporary music theory landscape.

A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes: · the hardcopy text, providing essential stylistic and technical information and repertoire discussion; · an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions; · an online instructor's manual providing additional information and realizations of all exercises. Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint.

Divided into two parts, this book shows how human memory influences the organization of music. The first part presents ideas about memory and perception from cognitive psychology and the second part of the book shows how these concepts are exemplified in music.