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Philip Adrian Ewell [1] (born February 16, 1966) is an American professor of music theory at Hunter College and the CUNY Graduate Center.He specializes in Russian and twentieth century music, as well as rap and hip hop.
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
Theoria: Historical Aspects of Music Theory is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1985, under the auspices of the University of North Texas College of Music. According to its website, "Theoria is a peer-reviewed journal on all aspects of history in music theory. This includes ...
The Suzuki music education which is very widely known, emphasizes learning music by ear over reading musical notation and preferably begins with formal lessons between the ages of 3 and 5 years. One fundamental reasoning in favor of this education points to a parallelism between natural speech acquisition and purely auditory based musical ...
The specific notes used in a piece will be part of one of more than seventy modes or maqam rows named after characteristic tones that are rarely the first tone (unlike in European-influenced music theory where the tonic is listed first). The rows are heptatonic and constructed from augmented, major, neutral, and minor seconds. Many different ...
In music cognition and musical analysis, the study of melodic expectation considers the engagement of the brain's predictive mechanisms in response to music. [1] For example, if the ascending musical partial octave "do-re-mi-fa-sol-la-ti-..." is heard, listeners familiar with Western music will have a strong expectation to hear or provide one ...
Meyer used this basis to form a theory about music, combining musical expectations in a specific cultural context with emotion and meaning elicited. [1] His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it.