In this article, we argue that music teachers in 'Theory of Music' classrooms can incorporate multimodal multisensory activities-aural, visual, tactile, and kinesthetic-in order to reinforce the perception of abstract musical concepts. However, 'Theory of Music' courses in Greece, as a part of the overall music conservatory curriculum being in-use for more than 60 years, are not consistent with the current philosophical trends in the field of music education. Whereas traditional notions of music theory focus primarily on reading and writing music through standard notation and musical symbols, multimodal multi-sensory activities allow new types of music understanding and learning, leading to the formation of new types of music literacies. In our increasingly multimodal era, it is widely recognized that music educators ought to consider anew which ways are more effective for students to be engaged with music, what it means to teach music in a multimodal context, and what changes in pedagogy, curriculum, and methodologies are needed. Other fields, such as the development and implication of copyright law, commercial music sales, music information retrieval extraction and evaluation metrics. Similarity could improve methods of determining music similarity used in a variety of My use of this theoretical framework in the study of musical

Similarity, but also in understanding how current audio-based extraction methods can This research not only has significant importance in our understanding of harmonic Overall, I show that a Riemannian-based approach that observes the chord labels (not using a score) enables music similarity approaches to explore audible music similarity in more depth. This thesis concludes by proposing an adapted version of Riemannian theory (removing the need for a key), which can be applied not only to computationally encoded scores, but also audio and other computationally available data (Chapters 5, and 7). Some of the apparent discrepancies in human-annotated harmony datasets specifically, the Chordify Annotator Subjectivity Dataset, a subset of Chordify’s user edit data, and my own annotation study using the song ‘Little Bit O’ Soul’ (Chapters 3, 4, and 6). Riemann’s theory is then utilised to explain

I propose that we would be better able to extract high-level musical features by using traditional music-theoretical methods.įirstly, I report an initial study that highlights harmonies relevance in participants’Ĭlassification of audible music similarity. My doctoral research explores whether traditional scholarly music-theoretical methods of determining harmony (such as Riemann’s theory of harmonic function, and aspects of Schenkerian analysis) could aid in developing better methods for determining similarity. Indeed, it is surprising that such crucial applications still generally rely upon ad-hoc and proprietary methods for determining similarity.

However, long-established theories of harmony such as Hugo Riemann’s theory of ‘harmonic functions’ have been under-utilised in the fields of music cognition and perception, and particularly in music information retrieval and forensic musicology. Harmony appears to have a vital role in listeners’ perceptions of musical similarity. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders-the defining limits-of conservatory music theory. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. In the first section, the characteristics of the three individual traditions are discussed separately. What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca.

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