Music Theory is the study of music’s structure and form, partly from a practical craft and to some extent from scientific perspective, to understand how music is perceived and why. It is considered according to various subjects such as music aesthetics treats as well as from an anthropological or cultural historical perspective. Important sub-topics are acoustics, notation, harmony, and ear training. Theory often makes use of an analytical approach. More practically oriented music theory includes improvisation and composition theory. A topic that often influenced music theory in recent years is psychoacoustics.
Music theory makes use of many specific writing style and concepts. Below are some of the most common. Note that most of the concepts of music theory relates to how phenomena are perceived (by listener), not to be confused with respective physical derivation. The boundaries overlap, however.
One of the basic components of the theory is toner, which is sound of perceptible height. The tone sound sources vibrate at specific frequencies, which distinguish them from noise or hiss, whose sources vibrate at many frequencies that are difficult to distinguish for the human ear.
Tones can be divided into partials, where the minimum is called the fundamental tone and the other for harmonic. The root determines the tone height while overtones determine the timbre.
Tones of varying heights are placed in a scale. Due to limitations in the number of frequencies, they can be perceived and interpreted using the music of a relatively limited number of tones (a few hundred, depending on the context). Relationship between the notes makes possible to use together some well suited, and thus the scale constitutes a “store” of tones for musical use. The ability to hear, memorize, and differentiate pitches is called the pitch.
Rhythm is a distribution over time of tones and breaks (pauses). The beginning of a tone called for an appropriation, the end of a rejection. A note’s duration is known as heart rate or rhythm of the value, as measured in a number of kinds. These are often relative to a pulse in a specific tempo.
Stressed kind or tones are those, which have a dominant effect over others, and therefore are more prominently placed in the rhythm. Stressed tones are usually longer or stronger, or follow the regularity with previously established emphases.
Rhythm can be divided into additive and divisive rhythm. In the former case, the rhythm is experienced as a result of lengths that only relate to their neighbors. In divisive rhythm, contrast is perceived as a part of the hierarchy. Divisive rhythm is dominant in Western music. Regular stressed stroke generates a signature.
Try to look through some music theory research paper topics to get the idea on the issue.
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