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Music Theory: The Foundation of Great Music

Learn how to read music and understand musical scores through a step-by-step system that makes music theory accessible to anyone.
Music Theory: The Foundation of Great Music is rated 3.7 out of 5 by 49.
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Rated 5 out of 5 by from Well conceived. I purchased this to update my understanding and appreciation for music theory and was not Disappointed.
Date published: 2022-06-30
Rated 1 out of 5 by from This course should be called "How Read Music" this isnt about music theory. it is about learning to read music.
Date published: 2022-05-01
Rated 5 out of 5 by from An excellent way to learn I am enjoying this course. Although it is complicated at such a high level, I am able to replay the video and learn. The instructor is excellent and the materials lend themselves to practice and a good check for understanding.
Date published: 2022-04-27
Rated 2 out of 5 by from Problem in first chapter with sound I just finally had time to open this course and am very interested in the subject, but have been disappointed with the first lesson because the audio of the Russian Easter Overture music in both the DVD and the streaming version is very very faint, so it's not possible to listen to the music which is being played to illustrate the score of that part/solos and the voice over of the instructor is normal volume. Very frustrating. Have not gone beyond this first lesson. Might just try to learn what I can from the workbook.
Date published: 2022-04-24
Rated 5 out of 5 by from Compact Format with Much Content I agree this course would probably be overwhelming to a complete musical beginner. I came into the course with a historic and rudimentary knowledge of music notation and no background in theory or composition. Prof. Atkinson threw light on many topics I've been trying to understand for some time, albeit that some repetition and serious concentration was needed. Some of the topics (e.g., Counterpoint) I resolved to follow at a higher level and then possibly to come back to later for more detailed study. I love Robert Greenberg and recommend all of his courses, but he does not use musical notation, so any comparisons are not valid. Overall, I thought this course delivered a great deal of information, was challenged by and learned a lot from it. And I enjoyed the live performances.
Date published: 2022-03-08
Rated 5 out of 5 by from Very good starting course, or refresher The course is well paced, and if you have an interest in music you will be pleased.
Date published: 2022-02-24
Rated 2 out of 5 by from Not for beginners This course pre-assumes that someone already has prior musical experience such as studying how to play the piano. It would take someone who is a genius to completely understand what is in the first three lectures, which is filled with definitions and their spatial relationships to each other. Then there was the Bach Goldberg Variations which the lecturer ascribed to Bach and the piano! No it was written for the harpsichord!! The piano as we know it did not exist in those days. The first lecture begins with showing the written musical score for some piece that the viewer is suppose to be able to follow along with and can barely make out on the screen. This isn’t musical theory but the equivalent of being thrown into a swimming pool and not knowing how to swim. The Robert Greenberg’s Understanding the Fundamentals of Music make no such assumptions. And I have only watched the first three lectures of this TCU’s professor. Taken on its face, music theory would seem to be dry and uninteresting. This course seems to be appropriate for a genius alien (from outer space) who had no prior experience to human music and wanted to know the theoretical basis of said human music. Imagine how a young Beethoven or Mozart would have been completely bamboozled by this professor and his course.
Date published: 2022-02-20
Rated 1 out of 5 by from A good way NOT to teach music theory. I'm only two lessons into this and am aghast that this series was approved by The Great Courses program. This course is a vivid example of why so many students give up on music theory. Instead of making the topic accessible and approachable, Atkinson makes it arcane, aloof, and disjointed. He spends the entire first lesson with an exultation of some Russian Orthodox Easter Overture (that can't even be heard because the mix was so bad), I guess to excite us that soon we will understand all that. Instead I was left totally bewildered and discouraged that this was s course for someone purely interested in classical, orchestral composition. . I was very quicking starting to ask "Who are you trying to teach here?" Anyone who would be familiar with some famous classical pieces would never put up with the ridiculously simplistic sections ("Lets first see where middle C is...") while someone trying to learn theory for the first time would be lost when he -- in the same lesson -- jumps to such complex classical pieces as examples (Let's see how a major scale sounds in this piece of Robert Shumann..."). . The major fault in this series is that Atkinson does a reasonable job walking through the rudiments of music scoring and structure, but all of his early examples are in layered orchestral pieces , where the simple lesson is quickly lost. Would it offend his snobbiness to actually use some popular tunes early on that as least more clearly show the lesson? (The Pentatonic Scale is the opening riff to the Temptations' My Girl). Maybe he uses other examples later, but to start off with some of the most complex music there is to explain. the rudiments of theory is completely illogical and off-putting. He needs an editor. .
Date published: 2022-02-03
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Overview

In Music Theory: The Foundation of Great Music, you'll delve into the inner workings of Western tonal music through 18 enjoyable and revealing lessons taught by Professor Sean Atkinson of Texas Christian University. Professor Atkinson, an eminent music theorist and teacher, makes music theory refreshingly clear and accessible, demystifying the skill of reading music as well as the principles of musical analysis. Using a highly interactive approach, he orients the lessons to an understanding of how music creates its remarkable effects, both formally and expressively, and how this understanding benefits us as listeners and instrumentalists.

About

Sean Atkinson

Most music follows a similar set of rules. It’s the grammar of musical language.

INSTITUTION

Texas Christian University School of Music

Sean Atkinson is an Associate Professor of Music Theory at the Texas Christian University School of Music, where he teaches courses on topics such as music theory, aural skills, and form and analysis. He also teaches graduate seminars on music analysis and musical meaning as well as a media studies class for the university’s Honors College. Prior to joining the faculty at TCU, he taught in the Department of Music at The University of Texas at Arlington. He holds a BM in Music Theory and Trombone Performance from Furman University and earned MM and PhD degrees in Music Theory from Florida State University.

Professor Atkinson’s research, which broadly addresses issues of musical meaning in multimedia contexts, has been published in journals such as Music Theory OnlineIndiana Theory Review, the Dutch Journal of Music Theory, and Popular Music. He is also active in the growing field of video game music (ludomusicology) and has presented at the North American Conference on Video Game Music and the Music and the Moving Image Conference at New York University.

Professor Atkinson is a cofounder of No Quarters, an on-campus video game lab at TCU committed to the interdisciplinary research and teaching of video games. Housed in the library, the lab allows students and teachers to explore a growing number of games and consoles, including virtual reality.

By This Professor

Music Theory: The Foundation of Great Music
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Music Theory: The Foundation of Great Music

Trailer

Learning the Language of Music

01: Learning the Language of Music

As an introduction to the language of music, delve into the Russian Easter Overture (1888) by composer Nikolai Rimsky-Korsakov. Explore how Rimsky-Korsakov achieves the work’s expressive effects, through the textures of different instruments and variations in volume (dynamics), speed (tempo), rhythm, and harmony, to capture the emotions of Easter in the Russian orthodox church.

23 min
Staff, Clefs, and Notes

02: Staff, Clefs, and Notes

Learn to identify the pitch (frequency) of a musical note, expressed by the letters A through G. See the pitches on the piano keyboard and observe how they’re written on the five-line “staff” of musical notation. Note how the symbols called clefs are used on the staff to indicate whether the pitches are in the upper or lower register, and practice reading notes on the treble and bass clefs.

23 min
Major Scales: Notes in Context

03: Major Scales: Notes in Context

Musical scales—ordered patterns of the notes A through G—are one of the basic structures of music. See how scales are built using half steps and whole steps, terms which describe the sequence of notes within the scale. Focus on the major scale, grasping how this familiar pattern of notes is created, and learn the function of each note within the scale. Listen to music using the major scale.

28 min
Intervals: Distance between Notes

04: Intervals: Distance between Notes

Look closely at intervals in music, the distances between pitches (notes). Practice listening to intervals, such as the third (a distance of three) and the fifth (five) and see how they appear on the written staff. Then look at the “quality” of intervals, such as major or minor, and how these qualities create expressive effects. Hear how intervals are used within familiar pieces of music.

26 min
The Circle of Fifths

05: The Circle of Fifths

Begin by defining the key of a piece of music, which is simply the musical scale that is used the most in the piece. Also discover key signatures in written music, symbols at the beginning of the musical score that indicate the key of the piece. Then grasp how the major keys all relate to each other in an orderly way, when arranged schematically according to the interval of a fifth.

25 min
Meter: How Music Moves

06: Meter: How Music Moves

Learn how the pulse or beat of a piece of music is organized in the written score, within small segments called measures, with the meter signature indicating how the beats are grouped within the measure. Observe how written musical notes have a rhythmic value, indicating how long each note lasts in time. Practice clapping musical rhythms, to understand how a piece of music moves through time.

28 min
Simple and Compound Meters

07: Simple and Compound Meters

The way musical beats (pulses) are subdivided fundamentally affects the character of the music. Discover simple meter, where the beat is subdivided into two equal parts, and compound meter, where it’s subdivided into three. Listen to music by Schumann, Haydn, and Bach to hear the difference, see how these rhythms are written, and do clapping exercises to get a feel for compound meter.

25 min
Downbeats and Upbeats: Performing Rhythm

08: Downbeats and Upbeats: Performing Rhythm

Practice rhythms that are typical in different genres of music, beginning with the rhythm from Queen’s famous “We Will Rock You.” Read and perform rhythms from music by Sousa and Schumann. Study features of rhythm such as rubato (flexibility with the tempo); musical notation such as ties, which combine notes together; and explore the musical style known as “swing.”

20 min
Minor Keys

09: Minor Keys

Take account of what distinguishes a minor key from a major key, and the associations of minor keys with tragedy and sad emotions. Learn to transform a major scale into a minor one by altering three notes in the scale. See how major and minor scales are related, using the circle of fifths from Lesson 5, and study commonly used variants of the minor scale, called harmonic and melodic minor.

24 min
Dynamics, Articulation, and Tempo

10: Dynamics, Articulation, and Tempo

Here, delve into three important elements of musical expression. Take a deeper look at dynamics (volume) in music-making and see how dynamics are indicated in the score. Then study articulation, variations in how individual notes are performed, and finally tempo, the speed at which music is played, noting how musical notation indicates both the tempo and occasional departures from the tempo.

26 min
Counterpoint: Composing with Two Voices

11: Counterpoint: Composing with Two Voices

Grasp the fundamentals of counterpoint, the basis of most western classical music, where two melodic lines are written to be played at the same time. First study the rules of counterpoint, using four types of melodic “motion,” where the two musical lines must relate to each other in very specific ways. Then compose a two-part counterpoint melody, to see how a piece of tonal music is built.

33 min
Musical Harmony: Triads

12: Musical Harmony: Triads

Harmony, where two or more notes sound together, lies at the heart of tonal music. In this lesson, study the structure of chords, combinations of three or more notes heard at the same time, focusing on triads, a group of fundamental three-note chords. Learn about major and minor triads, and the lesser-used diminished and augmented triads, and observe harmony in action in a Bach chorale.

22 min
Musical Harmony: Seventh Chords

13: Musical Harmony: Seventh Chords

Seventh chords are another essential component of Western tonal music. Observe how seventh chords (four-note chords) are built on triads (three-note chords), by adding another interval of a third. Learn how seventh chords “resolve” or propel the music forward. Study the five types of seventh chords, how they are used in different musical genres, and hear seventh chords in context.

21 min
Musical Harmony in Context: Progressions

14: Musical Harmony in Context: Progressions

Building on your study of harmony, observe how harmonic motion works, where one chord or tonality leads to another, forming a progression that we hear as a coherent harmonic sequence or event. Study the example of the tonic harmony, the “home” tonality of a piece, as it leads to the predominant harmony, the dominant harmony, and resolves back to the tonic, completing the progression.

22 min
Musical Phrases and Cadences

15: Musical Phrases and Cadences

This lesson discusses the phrase structure of tonal music. Discover how music unfolds in phrases, segments of musical material that end with a sense of rest or pause, often using a harmonic event called a cadence, which concludes the phrase. Hear how musical phrases operate, and how they are organized into larger units called periods and sentences, which create a musical narrative.

23 min
Hypermeter and Larger Musical Structures

16: Hypermeter and Larger Musical Structures

In listening to music, we sometimes hear the meter differently than the way it’s written on the page. Learn how the concept of hypermeter helps explain this, by showing that when measures of music are grouped into phrases, we often hear a pulse for each measure in the phrase, rather than the pulses within the measure. Explore examples of hypermeter, and how we perceive music as listeners.

22 min
Understanding Music Lead Sheets

17: Understanding Music Lead Sheets

In jazz and popular music, a lead sheet uses only a melodic line and chord symbols to indicate how to play the song. Listen to a jazz pianist improvise from lead sheets in three popular songs and investigate how chords are written on lead sheets as opposed to classical music scores. Hear the performer talk about the process of playing from lead sheets in spontaneous improvisation.

31 min
Applying Music Theory to Great Music

18: Applying Music Theory to Great Music

Conclude the course as it began, with an encounter with a great piece of music. Hear Clara Schumann’s “Three Romances for Violin and Piano” and test yourself on some of the concepts you’ve studied in the course. Revisit the elements of meter, rhythm, harmonic motion, cadences, key changes, and musical phrases that form the inner structure of great music.

28 min