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Music theory analyzes the pitch, timing, and structure of music. It uses mathematics to study elements of music such as tempo , chord progression , form , and meter . The attempt to structure and communicate new ways of composing and hearing music has led to musical applications of set theory , abstract algebra and number theory .
A number of exam boards assess pupils on music theory or practice. These are available for almost every musical instrument. A common method to mark progress is graded examinations—for example from grade 1 (beginner) to grade 8 (ready to enter higher study at music school). [2] Some teachers prefer other methods of target-setting for their pupils.
[4] [5] It was based on longitude 172° 30′ East of Greenwich, 11 + 1 ⁄ 2 hours ahead of Greenwich Mean Time (GMT). [6] This standard was known as New Zealand Mean Time (NZMT). [7] In 1941, during the Second World War, clocks were advanced half an hour, to reduce electric power use [8] making New Zealand 12 hours ahead of GMT.
The requirement is to have successfully completed a Grade 5 theory examination for a practical AMusA, and a Grade 5 practical examination for a theory AMusA. Above the AMusA is the Licentiate in Music, Australia (LMusA) and their highest diploma Fellowship in Music, Australia (FMusA). An AMusA practical examination is conducted by two examiners ...
Advanced Placement (AP) Music Theory (also known as AP Music or AP Theory) is a course and examination offered in the United States by the College Board as part of the Advanced Placement Program to high school students who wish to earn credit for a college-level music theory course.
In the United Kingdom, graded music exams are offered at grades 1 to 8, [3] with Grade 1 being the entry level, and Grade 8 being the standard required for entry to higher study in a music college. Some exam boards offer additional levels, before Grade 1 and/or after Grade 8.
The generative theory of tonal music (GTTM) is a system of music analysis developed by music theorist Fred Lerdahl and linguist Ray Jackendoff. [1] First presented in their 1983 book of the same title, it constitutes a "formal description of the musical intuitions of a listener who is experienced in a musical idiom" [1] with the aim of illuminating the unique human capacity for musical ...