Notes on music theory

After reading a famous book, everyone must have a lot of feelings about life or things, so it is necessary to write a reading note and talk about your own gains. So do you really know how to write reading notes? The following are my reading notes on music theory. Welcome to reading. I hope you will like it.

Reading Notes on Music Theory 1 I recently read a book about music theory, which is quite interesting.

Many concepts have not been systematically studied or recorded in the music theory of folk music. Many people have the illusion that absolute pitch discrimination is more important than relative pitch discrimination. In fact, comparing the absolute high resolution and relative pitch resolution of sound is as meaningless as comparing apples and oranges. The distinction between absolute pitch and relative pitch is actually two different but complementary techniques, which can be realized through acquired training. David lucas Berg said that absolute pitch discrimination is like distinguishing colors with the eyes. When you hear a tone, someone with pitch discrimination can tell you what it is without Andhadhun. Some people can even tell what frequency A is used as the standard sound.

After observation, I found that people with pitch discrimination mainly learn western musical instruments, especially the piano. The recognition of relative pitch means that you can hear the interval relationship through your ears. That is to say, people with relative pitch recognition ability may not be able to hear every pitch in a chord clearly, but they can distinguish the types of chords, such as "major triad". Usually, when we are tuning, one string is mainly aimed at the standard tone, and when the second string is tuned, we often listen to the interval relationship with the first string to make adjustments, which is a very common application of relative pitch recognition. So, how do these two technologies work together? Simply put, relative pitch discrimination can tell you the nature of chords, and absolute pitch discrimination can tell you the specific position of chords. Perhaps, some people will question, "If a person has absolute pitch discrimination, isn't it easy for him to find out the interval relationship he hears?" Actually, it's not like this. Some people can hear different pitches, but they can't tell the types of chords. The type of chord is more a feeling than a musical concept. Just like when we learn a language, strokes form familiar words, just like notes form familiar intervals, but words only have accurate meanings in sentences, just like chords, and only in phrases. Some people think that absolute pitch discrimination is more important and direct than relative pitch discrimination. Actually, it is not. Music is not composed of single notes. Relative pitch discrimination allows you to distinguish the melody of music at the first moment you hear it.

Take infinite motion as an example. People who can distinguish the correct pitch will hear a lot of rising and falling tones when listening to infinite motion, while those who can only distinguish the relative pitch may find that some parts in the middle are actually a tone sandhi. I believe many people also have this experience. They like a song very much and then play it by themselves. This is because our relative pitch discrimination helps us to determine the melody, but when we find the score, it seems that we haven't found the right melody yet, which is the shortcoming of our pitch discrimination ability.

These two abilities sound profound, but they can be achieved through training.

Reading Notes on Music Theory 2 I recently read the book Philosophy of Music Education, written by Bennett Remo, a famous American music educator. 20xx In August, People's Music Publishing House published the Chinese translation of Xiong Lei. This is a philosophical monograph on American music education. Bennett Remo is a famous American music educator and an advocate of aesthetic education in American music education.

Although I saw some music theories before, I didn't feel so deeply. First, Ramo's enterprising spirit. Adhere to the core idea of my own music education theory, keep tracking, digesting and integrating, and apply it to my own music education theory exploration. Second, Remo's tolerant attitude towards different views. Ramo didn't simply affirm or deny the questions from inside and outside the music education circle. For scholars who hold different views from him, Lamo did not criticize or defend himself rudely, but calmly analyzed them from different angles and showed their reasonable and unreasonable factors analytically to readers. At the same time, he put forward the position of seeking common ground while reserving differences, and advocated the integration of reasonable parts of different viewpoints on the basis of acknowledging differences. Third, Remo's understanding and respect for different cultures. Exploring the souls of different national cultures with sincerity and "heartfelt understanding" depends on the spread of his theory in the music education field all over the world. Fourth, Remo's rigorous academic style. Research achievements in its fields, such as psychology and neurology, have been added to the book. After in-depth study, I quoted and analyzed them with an integrative attitude, and when using different viewpoints, I did not simplify them to the extreme state of black and white, but took pains to distinguish the similarities and differences of these ideas.

In addition, after reading this book, I once again deeply realized that music is an art of hearing, and music appreciation is an activity to experience music by listening to specific music works, so as to gain aesthetic feelings. In the process of music appreciation, listening is undoubtedly the most important way, and language is only an auxiliary means. Copland believes: "If you want to understand music better, nothing is more important than listening to music, and nothing can replace listening to music." There are a lot of art appreciation contents in junior high school music courses in China, and the syllabus also points out that music appreciation should be based on listening to music. Teachers' proper explanation can guide students to experience and understand music better.

In the book, Remo also puts forward some suggestions for China's music education according to the contents of American national music education: the ideal teacher should be someone who encourages music to explore freely in as many aspects as possible, with extensive, profound and musical understanding as the primary goal and skill training as the necessary means to achieve that greater goal. The ideal state is to provide music education rather than music training.

1, singing all kinds of tracks, solo and chorus with others.

2. Play various tracks with musical instruments, solo and ensemble with others.

3. Improvise melodies, variations and accompaniment.

4. Compose and arrange music within the specific guidance.

5. Read music and record it.

6. Listen, analyze and describe music.

7. Evaluate music and music performances.

8. Understand the relationship between music and other disciplines other than humanities and arts.

9. Understand the relationship between music and history and culture.

In view of these nine aspects, he asked the musicians in China two questions the same as those in other countries:

1. Are these nine aspects irrelevant to music education in China?

2. Should these nine aspects be supplemented, so as to be particularly suitable for music education in China?

The answers are "no" and "no", which is consistent with the answers of musicians in all other countries. If so, the music educators in China are faced with how to integrate this extensive study into the general music education, which means that we will face a huge challenge. Remo also pointed out that all music educators are facing another major challenge: "How to achieve a healthy balance between learning and retaining traditional music and music that embraces foreign cultures".

As a famous American music educator, Remo's profound musical accomplishment also provides a good reference for us to study music education. This book highlights the premise that the basic nature and value of music education are determined by the nature and value of music. Remo believes that in order to build a universal philosophy of music education, we must fully consider adopting reasonable components from various perspectives and viewpoints. This inclusive understanding and attitude is very beneficial and applicable to the theoretical research and teaching practice of music education. I believe that music education will develop better and better in the construction of multi-dimensional logical system and values.

Generally speaking, this is a practical and research-oriented theoretical monograph, which is readable and worth reading. In particular, the book emphasizes the concern of music education for music itself, which is of great significance to the curriculum reform of music art education in China. At present, the music education in ordinary schools in China also has the problem of focusing only on the experience outside the music itself and ignoring the attention to the music itself. In the 1990s, some scholars in China suggested that music education should "enter music", advocate paying attention to music itself and opening musical thinking, which can be said to coincide with the views emphasized by Professor Remo in this book. Of course, the reform of music education can't be completed by publishing a book or putting forward an idea. It needs the concerted efforts of all music educators, Qi Xin. The most valuable thing about a book is that it can give us some enlightenment. As Remo pointed out in the preface of this book, "I deeply hope that this book is meaningful and helpful to music educators in China. I believe that most of the contents of this book are applicable not only to music education in the United States and anywhere else, but also to music education in China. If part of this book, perhaps most of it, can help China music educators clarify their beliefs and values about artistic music, that is, their philosophy, and we are equally committed to it, then I will be satisfied. " .

Philosophy of Music Education has clearly found the answers to some questions that have been bothering me in music teaching, and also provided a solid theoretical foundation for my future work. Like a lost navigator, I suddenly found a lighthouse to guide me.