Table of Contents

Section 3: 

Set theory
Rhythm/ form 
12- tone 
Polyrhythm
Metric modulation
Meter

Section 4: 

Basic Assumptions 
Motive, Phrase and Period
Cadence
Binary form
Ternary form
Rounded binary form
Sonata form
Rondo form
Theme and variation
Dance forms

Section 5: 

Basic assumptions 
and procedures
Harmony
Form and rhythm
Melody
Timbre

Section 6: Bibliography

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basic assumptions in music theory

Assumption 1:  Music theory is just that; a theory about the way music works.  It is a dynamic discipline that must accommodate a wide array of musical practices over centuries of history.

Assumption 2:  Music theory answers the questions "what do we do with these notes?"  "How do these notes work together to form a logical or musical object?"  "Which notes are more important than others?"  "What makes a composition coherent or incoherent?"

Assumption 3: Names and labels are tools for communication, not absolute descriptions of the actual musical use.  For example, we label a pitch that falls between two pitches spaced a melodic third apart a "passing tone."  This label helps us communicate with one another about that pitch, but it may not define adequately the "function" of the pitch in its context.  Also, because theorists of various geographies and eras disagree on names and labels, there is no reliable standard terminology.  Therefore, names and labels take secondary importance to the understanding of the function of the music.

Assumption 4: The music determines the outcome of an analysis.  This means that theory responds to the music, it does not impose its own rules and procedures on the music.  To this end, if a section of music defies a roman numeral analysis, the method of analysis has failed, not the composition.

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