music theory essay topics

Exploring the Depths of Music Theory: 250 Essay Topics Unveiled

Music theory encompasses a wide range of fundamental concepts and principles that form the backbone of musical understanding and composition. From the intricate harmonies and chord progressions to the melodic interplay and structural elements, music theory provides the tools for analyzing, creating, and appreciating music in all its forms. In this blog article, we will explore 25 essay topics related to various aspects of music theory, delving into harmony, melody, counterpoint, form, orchestration, music analysis, counterpoint and fugue, modal and chromatic harmony, contemporary music techniques, and the analysis of music history and styles. Each topic offers a unique perspective and invites further exploration into the fascinating world of music theory.

Fundamentals of Music Theory

This category covers the basics of music theory, including understanding pitch, rhythm, scales, and intervals. It explores the building blocks of music and provides a foundation for further study.

Fundamentals of Music Theory Essay Topics

The Elements of Music: Exploring the fundamental components of music, including pitch, rhythm, dynamics, timbre, and texture.
The Importance of Musical Notation: Examining the history and significance of musical notation in preserving and communicating musical ideas.
Understanding Scales and Key Signatures: Exploring different types of scales, their construction, and the relationship between scales and key signatures.
The Circle of Fifths: Investigating the concept of the circle of fifths and its role in understanding key relationships and chord progressions.
Intervals and their Musical Effects: Analyzing the characteristics and emotional effects of different intervals in music.
Triads and Chord Construction: Exploring the structure of triads, their inversions, and their role in harmony and chord progressions.
The Major and Minor Modes: Investigating the characteristics and differences between major and minor modes and their impact on musical expression.
Time Signatures and Meter: Understanding the concept of time signatures and meter in music and how they affect rhythmic patterns.
Understanding Musical Keys: Examining the concept of musical keys, their relationship to scales, and the impact of key changes on musical composition.
The Function of Cadences: Analyzing the role of cadences in music and their significance in creating musical phrases and resolving harmonic tension.
Introduction to Musical Harmony: Exploring the basic principles of harmony, including consonance, dissonance, and harmonic progressions.
The Role of Dynamics in Musical Expression: Investigating how dynamics, such as volume and intensity, contribute to the emotional impact of music.
The Art of Melody Writing: Analyzing techniques for creating compelling melodies, including contour, intervallic patterns, and motivic development.
Understanding Musical Texture: Exploring different types of musical texture, such as monophonic, homophonic, and polyphonic, and their effects on the overall sound.
The Role of Rhythm in Music: Examining rhythmic patterns, meters, syncopation, and their impact on musical structure and groove.
Notating and Understanding Time Signatures: Exploring different time signatures, their symbols, and their effect on the rhythmic feel of music.
The Power of Rests and Silence in Music: Investigating the significance of rests and moments of silence in creating rhythmic tension and shaping musical phrases.
Modal Interchange: Analyzing the concept of modal interchange and its use in creating harmonic interest and color in music.
The Art of Transposition: Exploring the process of transposing music to different keys and its significance in performance and composition.
Non-Western Musical Scales and Tuning Systems: Examining scales and tuning systems used in non-Western music traditions and their unique characteristics.
The Relationship Between Music Theory and Ear Training: Investigating how music theory and ear training complement each other in developing musicianship and aural skills.
Harmonic Analysis of a Musical Piece: Analyzing the harmonic structure and progressions in a specific musical composition to understand its underlying theory.
The Role of Modes in Contemporary Music: Exploring the use of modes in contemporary popular music and their impact on creating unique sounds and moods.
The Influence of Music Theory on Composition: Examining how composers throughout history have used music theory concepts and principles to shape their compositions.
Music Theory and Improvisation: Investigating the relationship between music theory and improvisation, including the use of scales, chord progressions, and harmonic concepts in creating improvised solos.

Harmony and Chord Progressions

This category delves into the principles of harmony, chord structures, and chord progressions. It explores how chords are constructed, their relationships, and how they create tension and resolution in music.

Harmony and Chord Progressions Essay Topics

The Basics of Harmony: Exploring the definition and importance of harmony in music and its role in creating emotional impact.
Chord Progressions in Popular Music: Analyzing common chord progressions used in popular music genres and their effect on creating memorable songs.
Functional Harmony: Understanding the concept of functional harmony and how it creates tension and resolution within a musical piece.
Voice Leading: Exploring the principles of voice leading and its role in creating smooth and coherent harmonic progressions.
Harmonic Analysis of a Classical Composition: Analyzing the harmonic structure and progressions in a classical piece to understand its underlying theory.
Modal Interchange: Investigating the technique of modal interchange and its use in creating harmonic interest and color in music.
Secondary Dominants: Understanding the concept of secondary dominants and their function in enhancing harmonic tension and creating key modulations.
Chromatic Harmony: Exploring the use of chromatic chords and altered tones to create expressive and colorful harmonic progressions.
Harmonic Rhythm: Analyzing the effect of harmonic rhythm on the pacing and energy of a musical composition.
Harmonic Cadences and Phrase Endings: Investigating different types of harmonic cadences and their role in creating musical closure and structure.
Chord Substitutions and Reharmonization: Exploring techniques of chord substitutions and reharmonization to add complexity and interest to harmonic progressions.
Harmonic Analysis of Jazz Standards: Analyzing the harmonic language and chord progressions used in jazz standards to understand their unique characteristics.
Modal Harmony: Understanding the principles of modal harmony and its use in creating distinct moods and tonalities.
Harmonic Suspensions and Non-Chord Tones: Exploring the use of suspensions and non-chord tones to create tension and resolution within harmonic progressions.
Harmonic Dissonance: Analyzing the use of dissonant chords and their resolution in creating emotional impact and expressive moments in music.
Harmonic Pacing in Film Music: Investigating how harmonic progressions are used in film music to enhance storytelling and evoke specific emotions.
Harmonic Analysis of Baroque Music: Analyzing the harmonic conventions and progressions used in Baroque music, such as figured bass and basso continuo.
Harmonic Sequences: Understanding the concept of harmonic sequences and their use in creating melodic and harmonic patterns.
Harmonic Function in Different Musical Cultures: Comparing the concept of harmonic function in Western classical music with other musical traditions around the world.
Harmonic Experimentation in 20th-Century Music: Exploring the innovative and unconventional harmonic progressions used by composers during the 20th century, such as in atonal and serialist music.
Harmonic Tension and Release: Analyzing how harmonic tension is created and resolved through chord progressions to create emotional impact in music.
Harmonic Patterns in Minimalist Music: Investigating the repetitive harmonic patterns and progressions used in minimalist music and their effect on creating hypnotic and meditative atmospheres.
Harmonic Analysis of a Pop Song: Analyzing the harmonic structure and progressions in a contemporary pop song to understand the techniques used in commercial music.
Harmonic Influences in World Music: Exploring the diverse harmonic systems and progressions found in different world music traditions, such as Indian classical music or African music.
Harmonic Innovation in Contemporary Music: Investigating the use of unconventional chords, extended harmonies, and unique progressions in contemporary classical and experimental music compositions.

Melody and Counterpoint

This category focuses on the art of creating memorable melodies and explores the principles of counterpoint, which deals with the combination of independent melodic lines. It covers techniques such as voice leading and contrapuntal devices.

Melody and Counterpoint Essay Topics

The Art of Melody: Exploring the characteristics and elements that make a melody memorable and expressive.
Melodic Development: Analyzing techniques for developing and expanding melodic ideas within a musical composition.
Contour and Shape in Melody: Investigating how contour and shape contribute to the emotional impact and structure of a melody.
Motivic Development: Exploring the use of motifs and their development throughout a composition to create unity and variation in melodies.
Melodic Phrasing and Articulation: Analyzing the importance of phrasing and articulation in shaping the musical interpretation and expression of a melody.
Melody and Text Setting: Examining the relationship between melody and text in vocal music, and how the melodic line enhances the meaning and emotion of the lyrics.
Melody in Different Musical Genres: Comparing the characteristics and approaches to melody in various genres, such as classical, jazz, pop, and folk music.
Counterpoint in Renaissance Music: Exploring the principles and techniques of contrapuntal writing in Renaissance polyphonic music, such as canon and imitation.
The Fugue: Analyzing the structure, techniques, and compositional principles of fugue writing, focusing on contrapuntal mastery and subject development.
Melody and Harmony in Counterpoint: Investigating the intricate relationship between melody and harmony in contrapuntal writing, including the rules of consonance and dissonance.
Species Counterpoint: Exploring the pedagogical approach of species counterpoint and its role in developing contrapuntal skills through strict melodic and rhythmic rules.
Counterpoint in Baroque Music: Analyzing the contrapuntal techniques used in Baroque music, such as voice leading, suspension, and ornamentation.
Modal Counterpoint: Investigating the use of modal counterpoint, particularly in early music, and how it differs from tonal counterpoint.
Melody and Counterpoint in Jazz Improvisation: Exploring how jazz musicians incorporate melodic improvisation and counterpoint within their solos and ensemble performances.
Contemporary Approaches to Melody and Counterpoint: Analyzing experimental and innovative techniques in contemporary music that challenge traditional notions of melody and counterpoint.
Melody and Counterpoint in Film Music: Examining the role of melody and counterpoint in enhancing storytelling and creating emotional impact in film scores.
Melody and Counterpoint in Choral Music: Investigating how melodies and counterpoint are crafted and integrated within choral compositions, including techniques for voice leading and harmonic balance.
Melody and Counterpoint in Chamber Music: Analyzing the interplay between melodic lines and contrapuntal writing in chamber music compositions, such as string quartets and sonatas.
Melody and Counterpoint in Orchestration: Exploring how melodies and counterpoint are orchestrated and distributed among different instrument groups in an orchestral composition.
Cross-Cultural Perspectives on Melody and Counterpoint: Comparing and contrasting approaches to melody and counterpoint in different musical traditions from around the world.
The Influence of Melody and Counterpoint on Musical Form: Investigating how melodies and contrapuntal textures shape and define musical forms, such as sonata-allegro, theme and variations, or fugue.
Melodic and Contrapuntal Techniques in Contemporary Songwriting: Analyzing the use of melody and counterpoint in contemporary songwriting, including techniques for creating catchy hooks and harmonically interesting progressions.
Melodic and Contrapuntal Motifs in Programmatic Music: Exploring how melodic and contrapuntal motifs are used to depict characters, scenes, or narratives in programmatic music compositions.
Melody and Counterpoint in the Music of J.S. Bach: Examining the intricate contrapuntal writing and melodic genius of Johann Sebastian Bach's compositions.
Melody and Counterpoint in Electronic Music: Analyzing how melodies and contrapuntal elements are created, manipulated, and integrated within electronic music genres, such as techno, ambient, or IDM.

Form and Structure

This category examines the organization and structure of musical compositions. It explores various musical forms such as sonata form, rondo, theme and variations, and binary form, and how composers use these structures to create coherence and contrast.

Form and Structure Essay Topics

Sonata Form: Analyzing the structure and characteristics of sonata form and its significance in classical music compositions.
Ternary Form: Exploring the structure and variations of ternary form and its use in creating balanced musical compositions.
Theme and Variations: Investigating the concept of theme and variations and its role in developing musical ideas and creating interest within a composition.
Rondo Form: Analyzing the structure and patterns of rondo form, its use in creating recurring themes, and its impact on musical narratives.
Binary Form: Exploring the structure and characteristics of binary form and its use in creating contrasting musical sections.
Through-Composition: Examining the concept of through-composed music and its departure from traditional formal structures through continuous development and variation.
Strophic Form: Analyzing the structure and features of strophic form, commonly used in songs, and its impact on lyrical expression and repetition.
Arch Form: Investigating the arch form structure and its significance in creating a sense of symmetry and narrative progression in music.
Cyclical Form: Exploring the concept of cyclical form, where musical elements recur throughout a composition, creating connections and unity.
Suite Form: Analyzing the structure and organization of suite form, often used in Baroque and classical music, and its use in showcasing contrasting dance movements.
Chaconne and Passacaglia: Investigating the structure and characteristics of chaconne and passacaglia forms and their use in creating variations over a repeating bass line.
Song Form: Analyzing the structure of song form, including verses, choruses, and bridges, and its significance in popular music compositions.
Rhapsody Form: Exploring the expressive and narrative nature of rhapsody form and its use in creating dramatic and virtuosic musical pieces.
Narrative Structure in Programmatic Music: Examining how form and structure are used to depict stories, events, or narratives in programmatic music compositions.
Minimalist Form: Analyzing the repetitive and gradually evolving structures of minimalist music compositions and their impact on perception and listener experience.
Fugue Form: Investigating the structure and techniques of fugue form, including subject entries, episodes, and stretto, and its significance in contrapuntal writing.
Free Form: Exploring the concept of free form in music, where the structure is unrestricted and allows for improvisation and spontaneous development.
Fusion of Forms: Analyzing compositions that blend multiple formal structures, such as sonata-rondo or theme and variations within a larger framework.
Motivic Development and Formal Unity: Investigating how motivic development and recurring motifs contribute to the unity and coherence of musical forms.
Cyclical Techniques in Symphony Form: Examining cyclical techniques used by composers in symphonic compositions, such as thematic recall and transformation across multiple movements.
Experimental Forms in Contemporary Music: Analyzing unconventional and innovative forms used in contemporary classical and experimental music compositions.
The Influence of Form on Musical Interpretation: Investigating how different formal structures influence the interpretation and performance of musical compositions.
Formal Structures in Film Scores: Exploring how form and structure are utilized in film scores to enhance storytelling, create musical cues, and evoke emotions.
Evolution of Form in Different Musical Periods: Analyzing the evolution and changes in formal structures across musical periods, such as Baroque, Classical, Romantic, and 20th-century music.
Formal Expectations and Subversions in Popular Music: Examining how popular music compositions adhere to or subvert traditional formal expectations, such as verse-chorus structures, bridge sections, and intros/outros.

Orchestration and Arranging

This category delves into the techniques and principles of orchestrating and arranging music for different instruments and ensembles. It covers topics such as instrument ranges, timbre, balance, and how to effectively score music for specific instruments.

Orchestration and Arranging Essay Topics

Analyzing the Harmonic Progressions in a Classical Composition: Examining the harmonic structure and chord progressions in a specific classical music piece to understand its underlying theory.
Analyzing Melodic Development in a Jazz Standard: Investigating the melodic development and improvisational techniques used in a jazz standard to understand its expressive qualities.
Analyzing Rhythmic Patterns in African Drumming: Examining the intricate rhythmic patterns and polyrhythms in African drumming traditions and their cultural significance.
Analyzing the Textures in a Contemporary Orchestral Composition: Exploring the different musical textures and instrumental combinations used in a contemporary orchestral composition and their impact on the overall sound.
Analyzing the Use of Modes in World Music: Investigating the modal scales and tonalities used in various world music traditions and their unique characteristics.
Analyzing Counterpoint in a Baroque Fugue: Examining the contrapuntal techniques and voice leading principles in a Baroque fugue to understand its intricate interplay of musical voices.
Analyzing the Harmonic Progressions in a Pop Song: Examining the chord progressions and harmonic choices in a popular song to understand the harmonic language and structure used in commercial music.
Analyzing the Form and Structure of a Classical Symphony: Investigating the formal organization and structural elements of a classical symphony, such as sonata-allegro form and thematic development.
Analyzing the Use of Technology in Electronic Music: Examining the production techniques, sound design, and manipulation of electronic sounds in a specific electronic music track.
Analyzing the Harmonic Pacing in a Film Score: Exploring how the harmonic progressions and pacing in a film score contribute to the storytelling, emotional impact, and character development.
Analyzing the Use of Rhythm and Groove in Latin American Music: Investigating the rhythmic patterns, syncopation, and clave rhythms used in Latin American music genres and their cultural significance.
Analyzing the Orchestration and Instrumentation in a Symphonic Work: Examining the choices of instruments, timbres, and orchestration techniques used in a symphonic composition and their impact on the overall sound palette.
Analyzing the Musical Innovations in a Contemporary Avant-Garde Composition: Exploring the experimental techniques, unconventional structures, and unique approaches to sound in a contemporary avant-garde composition.
Analyzing the Use of Harmonic Tension and Release in a Rock Song: Examining the techniques used to create harmonic tension and release, such as modal interchange, chromaticism, and dynamic shifts, in a rock music composition.
Analyzing the Melodic and Motivic Development in a Classical Sonata: Investigating the melodic themes, motivic development, and variations within the movements of a classical sonata.
Analyzing the Musical Forms in a Concept Album: Examining the overarching musical forms and connections between songs in a concept album to understand the narrative and thematic coherence.
Analyzing the Use of Extended Techniques in Contemporary Solo Instrumental Music: Exploring the unconventional playing techniques and extended use of instruments in contemporary solo instrumental compositions.
Analyzing the Role of Texture in a Minimalist Composition: Investigating the repetitive patterns, layering, and gradual transformations of musical texture in a minimalist composition.
Analyzing the Harmonic Language in Impressionist Music: Examining the use of impressionistic harmonies, modal scales, and coloristic effects in compositions by impressionist composers like Debussy and Ravel.
Analyzing the Structure and Harmonic Progressions in a Progressive Rock Epic: Investigating the complex song structures, intricate time signatures, and unconventional chord progressions in a progressive rock epic.
Analyzing the Use of Musical Gestures in Contemporary Dance Music: Examining the repetitive motifs, rhythmic hooks, and melodic gestures used in contemporary dance music to engage listeners and create a sense of movement.
Analyzing the Role of Silence and Rests in a Contemporary Experimental Composition: Exploring the intentional use of silence, rests, and pauses in a contemporary experimental composition to create tension, contrast, and musical punctuation.
Analyzing the Musical Interplay and Dialogue in a Chamber Music Ensemble: Examining the interaction and dialogue between different instrumental voices in a chamber music ensemble, such as a string quartet or woodwind quintet.
Analyzing the Musical Symbolism in an Opera: Investigating the use of leitmotifs, musical symbolism, and thematic motifs to represent characters, emotions, and dramatic elements in an opera.
Analyzing the Musical Characteristics of a Folk Song from a Specific Culture: Examining the melodic and rhythmic characteristics, storytelling elements, and cultural context of a folk song from a particular culture.

Music Analysis

This category explores the process of analyzing music from a theoretical and structural perspective. It covers techniques for dissecting and understanding compositions, including chord analysis, motivic development, and harmonic progressions.

Music Analysis Essay Topics

The Evolution of Counterpoint: Tracing the historical development of counterpoint from medieval organum to Renaissance polyphony and beyond.
The Art of Fugue: Exploring the intricacies and techniques of fugue composition, focusing on the works of Johann Sebastian Bach.
Contrapuntal Devices in Baroque Music: Analyzing the various contrapuntal devices used in Baroque compositions, such as canon, imitation, and invertible counterpoint.
Contrapuntal Writing in the Classical Era: Examining the characteristics and techniques of counterpoint in classical music, with a focus on composers like Haydn and Mozart.
Modal Counterpoint in Renaissance Music: Investigating the principles and practices of modal counterpoint in Renaissance compositions, including the use of species counterpoint.
Chromaticism in Counterpoint: Analyzing the incorporation of chromaticism within contrapuntal writing, exploring its expressive possibilities and challenges.
The Influence of Counterpoint on Orchestration: Examining how counterpoint affects orchestration choices and the distribution of musical material among different instruments.
Counterpoint in Choral Music: Investigating the role of counterpoint in choral compositions, focusing on the interplay between vocal lines and harmonic structure.
The Integration of Counterpoint and Homophony: Analyzing the blending of contrapuntal and homophonic elements in compositions, exploring the balance between individual melodic lines and harmonic accompaniment.
Counterpoint in Jazz Improvisation: Exploring the use of contrapuntal techniques in jazz improvisation, including call-and-response patterns, melodic interaction, and harmonic substitutions.
The Influence of Counterpoint on Film Music: Examining how counterpoint is used in film scores to create tension, underscore emotional moments, and enhance storytelling.
Counterpoint in Contemporary Popular Music: Analyzing the presence and adaptation of contrapuntal elements in contemporary popular music genres, such as indie rock, pop, and electronic music.
Counterpoint in Keyboard Music: Investigating the role of counterpoint in keyboard compositions, such as fugues, preludes, and toccatas, with a focus on composers like Bach, Handel, and Scarlatti.
Counterpoint and Expressive Intent: Exploring how contrapuntal techniques can convey specific emotions, moods, or narrative ideas within a musical composition.
The Role of Counterpoint in Chamber Music: Analyzing the use of counterpoint in chamber music compositions, examining the interaction and interplay among different instrumental voices.
Counterpoint and Text Setting in Vocal Music: Investigating how counterpoint enhances the setting of text in vocal music, emphasizing clarity, intelligibility, and expression.
Contrapuntal Techniques in Contemporary Compositions: Examining how contemporary composers employ contrapuntal techniques in their works, incorporating them into diverse musical styles and contexts.
Counterpoint and Nationalism: Exploring the influence of counterpoint on nationalistic compositions, investigating how contrapuntal elements are used to evoke national identity and pride.
Contrapuntal Elements in Electronic Music: Analyzing the integration of contrapuntal elements, such as melodic lines and rhythmic patterns, in electronic music production and composition.
Counterpoint and Improvisation in World Music Traditions: Investigating the role of counterpoint in improvisation within various world music traditions, such as Indian classical music, Middle Eastern music, or African music.
Counterpoint and Textures in Avant-garde Music: Exploring the use of counterpoint to create complex textures and sonic landscapes in avant-garde and experimental compositions.
The Pedagogy of Counterpoint: Analyzing the historical methods and approaches to teaching counterpoint, examining influential treatises and instructional materials.
Contrapuntal Techniques in Sacred Music: Investigating the use of counterpoint in sacred music compositions, such as masses, motets, and chorales, and its role in enhancing spiritual and devotional aspects.
Counterpoint and Musical Symbolism: Exploring how counterpoint can be employed to convey symbolic meanings and represent specific ideas or concepts within a composition.
Counterpoint and Contemporary Music Technology: Analyzing the integration of counterpoint with contemporary music technologies, such as computer-assisted composition, algorithmic music, and interactive systems.

Counterpoint and Fugue

This category delves deeper into the art of counterpoint, focusing specifically on fugue composition. It covers the principles of fugue writing, including subject development, stretto, and exposition techniques.

Counterpoint and Fugue Essay Topics

Exploring the Modal System in Ancient Greek Music: Analyzing the modal harmonies and scales used in ancient Greek music and their influence on Western music theory.
Modal Harmony in Renaissance Polyphony: Investigating the modal harmonies and chord progressions employed in Renaissance polyphonic compositions.
Modal Interchange in Popular Music: Examining the use of modal interchange, borrowing chords from different modes, in contemporary popular music and its impact on harmony and tonality.
Chromaticism in Baroque Music: Analyzing the chromatic harmonies and expressive possibilities in Baroque compositions, including chromatic alterations and melodic embellishments.
Modal and Chromatic Harmony in Jazz: Exploring the use of modal and chromatic harmonies in jazz improvisation and composition, including modal vamps and chromatic chord substitutions.
Modal Harmony in World Music Traditions: Investigating the modal systems and harmonic structures found in various world music traditions, such as Indian raga, Arabic maqam, or Celtic music.
Modal Harmony and Impressionism: Analyzing the use of modal harmonies and coloristic effects in Impressionist music, focusing on composers like Debussy and Ravel.
Chromatic Voice Leading in Romantic Music: Examining the chromatic voice leading and harmonic progressions used in Romantic-era compositions to evoke heightened emotional expression.
Modal Chord Progressions in Folk Music: Exploring the modal chord progressions and harmonies used in folk music traditions from different cultures, highlighting their unique tonal flavors.
Modal and Chromatic Harmonies in Film Music: Investigating how modal and chromatic harmonies are utilized in film scores to create atmosphere, tension, and enhance storytelling.
Chromatic Harmony in Expressionist Music: Analyzing the use of dissonance, extended harmonies, and chromaticism in expressionist compositions of the early 20th century.
Modal Harmony in Contemporary Classical Music: Examining the use of modal harmonies and tonal ambiguity in contemporary classical compositions, exploring the blending of tonal and modal elements.
Chromatic Voice Leading in Jazz Harmony: Exploring advanced chromatic voice leading techniques, substitutions, and altered chords used in jazz harmony and improvisation.
Modal Harmony in Minimalist Music: Analyzing the repetitive modal harmonies and tonal centers in minimalist compositions, focusing on composers like Steve Reich and Philip Glass.
Chromatic Harmonies and Harmonic Progressions in Blues Music: Investigating the use of chromatic harmonies and harmonic progressions in blues music, including the incorporation of "blue notes."
Modal Harmony and Ethnic Fusion: Exploring the integration of modal harmonies from different cultural traditions in contemporary ethnic fusion music.
Chromatic Harmony in Avant-garde and Experimental Music: Analyzing the use of extreme chromaticism, non-functional harmonies, and unconventional tonal structures in avant-garde and experimental compositions.
Modal Harmonies in Gregorian Chant: Examining the modal harmonies and tonal language of Gregorian chant, highlighting the unique modal characteristics of different chant modes.
Chromaticism in the Late Romantic Opera: Investigating the heightened chromaticism and rich harmonies found in late Romantic opera compositions, such as those by Wagner or Strauss.
Modal Harmony in Sacred Music: Analyzing the use of modal harmonies and tonalities in sacred music compositions, including modal psalmody and hymnody.
Chromatic Voice Leading in Contemporary Pop Music: Examining the use of chromatic voice leading techniques, chord modulations, and chromatic harmonies in contemporary pop music.
Modal Harmonies in Medieval Troubadour Songs: Investigating the modal harmonies and tonalities found in medieval troubadour songs and their impact on lyrical expression.
Chromatic Harmony in the Music of the Impressionist Era: Analyzing the use of chromatic harmonies, coloristic effects, and harmonic ambiguity in compositions of the Impressionist era.
Modal and Chromatic Harmony in Electronic Music: Exploring the use of modal and chromatic harmonies in electronic music production and composition, including modal sequencing and chromatic chord progressions.
Chromatic Harmony and Symbolism in Symbolist Music: Examining the use of chromatic harmonies and tonal symbolism in music of the Symbolist movement, exploring the connection between harmony and poetic imagery.

Modal and Chromatic Harmony

This category explores alternative harmonic systems beyond the traditional major and minor keys. It covers modal harmony, such as Dorian and Mixolydian, as well as chromaticism and extended chord structures.

Modal and Chromatic Harmony Essay Topics

The Evolution of Modal Harmony in Western Music: Tracing the historical development and transformations of modal harmony from ancient Greek music to contemporary compositions.
Chromaticism as a Catalyst for Musical Innovation: Examining how the introduction of chromatic harmonies revolutionized Western music and led to new compositional techniques and expressive possibilities.
Modal Interchange: Exploring the concept of modal interchange and its application in creating rich harmonic textures and tonal ambiguity in various musical genres.
Chromaticism in the Romantic Era: Analyzing the prominent use of chromatic harmonies in the Romantic period and its impact on emotional expression and tonal exploration.
Modal Harmonies in Folk Music Traditions: Investigating the modal harmonies and tonal characteristics in folk music from different cultures and regions around the world.
Chromatic Voice Leading in Jazz Harmony: Exploring advanced chromatic voice leading techniques and substitutions used in jazz harmony and improvisation.
Modal Harmony in Contemporary World Music Fusion: Analyzing the integration of modal harmonies from different cultural traditions in contemporary world music fusion, highlighting the blending of tonalities.
Chromaticism and Expression in the Music of Debussy: Examining the use of chromatic harmonies and tonal ambiguity in the compositions of Claude Debussy and their contribution to the Impressionist movement.
Modal Chord Progressions in Rock Music: Investigating the use of modal chord progressions in rock music, exploring their role in creating unique tonal colors and moods.
Chromatic Harmony in the Music of the Second Viennese School: Analyzing the highly chromatic and dissonant harmonies in the compositions of Arnold Schoenberg, Alban Berg, and Anton Webern.
Modal Harmony in Sacred Choral Music: Examining the modal harmonies and tonalities in sacred choral compositions, such as Gregorian chant and Renaissance motets.
Chromaticism and the Blues: Analyzing the use of chromatic harmonies and "blue notes" in the blues genre, exploring their expressive qualities and influence on subsequent musical styles.
Modal Harmony in Film Music: Investigating the use of modal harmonies and tonalities in film scores to evoke specific moods, settings, and cultural contexts.
Chromatic Voice Leading in Baroque Counterpoint: Exploring the intricate chromatic voice leading techniques employed in Baroque contrapuntal compositions, including fugues and canons.
Modal Jazz: Analyzing the modal harmonies and improvisational approaches in modal jazz compositions, with a focus on modal jazz pioneers like Miles Davis and John Coltrane.
Chromaticism in Post-Romanticism: Examining the heightened chromaticism and harmonic complexity in post-Romantic compositions, such as those by Gustav Mahler or Richard Strauss.
Modal Harmonies in Traditional Indian Classical Music: Investigating the modal harmonies and raga systems in traditional Indian classical music and their role in improvisation and composition.
Chromatic Harmony in Contemporary Pop Music: Analyzing the use of chromatic harmonies, chord progressions, and modulation techniques in contemporary pop music, exploring their impact on catchy melodies and emotional impact.
Modal Implications in Minimalist Music: Exploring the modal implications and tonal centers in minimalist compositions, focusing on the repetitive structures and tonal ambiguity.
Chromaticism and Symbolism in 20th-Century Music: Examining the use of chromatic harmonies and tonal symbolism in 20th-century compositions, exploring the connection between harmony and emotional or philosophical concepts.
Modal Harmony in Jazz Fusion: Analyzing the fusion of modal harmonies with jazz improvisation and other musical genres in jazz fusion compositions.
Chromatic Voice Leading in Contemporary Classical Music: Investigating the use of complex chromatic voice leading techniques in contemporary classical compositions, highlighting their role in harmonic exploration.
Modal Harmonies in Indigenous Music Traditions: Exploring the modal harmonies and tonal systems in indigenous music traditions, emphasizing their cultural significance and musical expression.
Chromaticism in Experimental Music: Analyzing the use of extreme chromaticism, microtonal intervals, and unconventional harmonic structures in experimental music compositions.
Modal and Chromatic Elements in Cross-Cultural Musical Exchange: Investigating how modal and chromatic harmonies are integrated in cross-cultural musical exchanges, examining the fusion of different tonal systems and harmonic languages.

Contemporary Music Techniques

This category focuses on modern and avant-garde approaches to composition. It covers techniques such as serialism, aleatory (chance) music, electronic music, and spectralism, providing insight into innovative musical practices.

Contemporary Music Techniques Essay Topics

Extended Techniques in Contemporary Instrumental Music: Exploring the use of unconventional playing techniques and sounds on traditional instruments in contemporary compositions.
Sampling and Collage Techniques in Electronic Music: Analyzing the manipulation and recontextualization of sampled sounds and musical fragments in contemporary electronic music production.
Microtonality in Contemporary Music: Investigating the use of microtonal intervals and alternative tuning systems in contemporary compositions, and their impact on harmonic and melodic expression.
Live Electronics and Interactive Performance: Examining the integration of electronic instruments, real-time processing, and interactive technologies in contemporary live performances.
Algorithmic Composition: Analyzing the use of algorithms and computer programming in the creation of musical structures, melodies, and harmonies in contemporary compositions.
Minimalism and Repetitive Structures: Exploring the minimalist movement and its emphasis on repetitive musical structures, gradual transformations, and rhythmic patterns in contemporary music.
Noise and Sound Art: Investigating the exploration of noise, unconventional sounds, and the blurring of boundaries between music and sound art in contemporary compositions.
Graphic Notation and Indeterminacy: Analyzing the use of graphic notation and indeterminate elements in contemporary compositions, allowing performers to interpret and shape the music within certain parameters.
Electroacoustic Music: Examining the combination of electronic sounds and acoustical instruments, as well as the manipulation of recorded sounds, in contemporary electroacoustic compositions.
Spectralism: Investigating the spectralist movement and its focus on the analysis and manipulation of sound spectra in contemporary compositions.
Vocal Techniques in Contemporary Choral Music: Analyzing extended vocal techniques, vocal improvisation, and experimental approaches to choral music in contemporary compositions.
Live Coding and Algorithmic Improvisation: Exploring the practice of live coding, where performers code and manipulate algorithms in real-time to generate and shape musical material during live improvisations.
Indeterminacy and Chance Operations: Examining the incorporation of chance procedures and indeterminate elements in composition, allowing for aleatoric and unpredictable outcomes in contemporary music.
New Notation Systems: Analyzing innovative notation systems and graphical representations used in contemporary compositions, expanding traditional musical notation to capture new musical ideas.
Hybrid Genres and Fusion: Investigating the blending of musical styles, genres, and cultural influences in contemporary compositions, such as jazz fusion, world music fusion, or classical crossover.
Spatialization and Surround Sound: Exploring the use of multi-channel audio systems and spatialization techniques to create immersive sonic experiences in contemporary music performances and installations.
Post-Minimalism and Eclecticism: Analyzing the post-minimalist movement and its incorporation of diverse musical elements, styles, and techniques in contemporary compositions.
Timbral Exploration and Extended Instrumental Techniques: Investigating the exploration of timbre, sound textures, and unconventional instrumental techniques in contemporary compositions.
Live Performance and Interactive Multimedia: Examining the integration of live performance with interactive multimedia elements, such as video projections, motion tracking, or sensor-based technologies.
Hybrid Instrumentation and Ensemble Configurations: Analyzing the use of hybrid instrumental setups and unconventional ensemble configurations in contemporary compositions, expanding the sonic possibilities and instrumental interactions.
Soundscapes and Environmental Music: Investigating the composition of soundscapes and environmental music, using field recordings and ambient sounds to create sonic narratives and immersive experiences.
Improvisation and Structured Improvisation: Examining the role of improvisation and structured improvisational frameworks in contemporary music, allowing performers to actively shape the music in real-time.
Interdisciplinary Collaborations: Exploring collaborations between composers, musicians, visual artists, dancers, and other disciplines in creating integrated multimedia performances and installations.
Augmented Reality and Virtual Reality in Music: Analyzing the use of augmented reality (AR) and virtual reality (VR) technologies to enhance musical experiences, creating interactive and immersive virtual environments.
Conceptual and Process-Based Composition: Investigating conceptual approaches to composition, where the emphasis is placed on the underlying ideas, processes, and conceptual frameworks driving the musical creation.

Analysis of Music History and Styles

This category examines music theory within the context of different historical periods and musical styles. It explores the theoretical principles and characteristics of various genres, such as Baroque, Classical, Romantic, and 20th-century music.

Analysis of Music History and Styles Essay Topics

The Evolution of Western Classical Music: A comprehensive analysis of the major stylistic periods and developments in Western classical music, from medieval to contemporary.
Comparative Analysis of Baroque and Classical Music Styles: Contrasting the characteristics, forms, and aesthetics of the Baroque and Classical periods in music history.
Nationalism in Music: Analyzing the influence of national identity and cultural heritage on the development of musical styles and compositions in different countries and regions.
The Impact of the Industrial Revolution on Music: Exploring the socio-cultural changes brought about by the Industrial Revolution and their influence on musical styles, instruments, and performance practices.
Analysis of the Romantic Period: Examining the characteristics, themes, and innovations of the Romantic era in music, focusing on composers such as Beethoven, Chopin, and Wagner.
The Development of Jazz Styles: Tracing the evolution of jazz music from its roots in African-American communities to the various subgenres and styles that emerged throughout the 20th century.
Modernism and Avant-Garde in Music: Analyzing the experimental and boundary-pushing tendencies of modernist and avant-garde composers, exploring their innovative approaches to harmony, form, and notation.
Analysis of Impressionist Music: Investigating the unique qualities, techniques, and impressionistic aesthetics in the compositions of Debussy, Ravel, and other impressionist composers.
The Influence of Folk Music on Classical Compositions: Examining how folk music traditions and melodies have influenced classical composers and shaped their compositional styles.
Analysis of the Expressionist Movement in Music: Exploring the emotional intensity, dissonance, and unconventional harmonies in the compositions of expressionist composers, such as Schoenberg and Berg.
The Influence of African and African-American Music on Popular Music Styles: Analyzing the impact of African and African-American musical traditions on the development of popular music genres, including blues, rock, and hip-hop.
Analysis of Minimalist Music: Examining the repetitive structures, gradual transformations, and minimalist aesthetics in the compositions of minimalist composers like Steve Reich and Philip Glass.
The Development of Opera Styles: Tracing the evolution of opera styles from Baroque opera seria to the innovations of the Romantic and modern periods, analyzing key composers and their contributions.
The Influence of World Music on Contemporary Compositions: Investigating the incorporation of world music elements and styles in contemporary compositions, highlighting the cross-cultural influences and musical fusion.
Analysis of Film Music Styles: Examining the evolution of film music styles and techniques, from the early silent film era to the diverse soundtracks of contemporary cinema.
The Impact of Technology on Music Production and Styles: Analyzing the influence of technological advancements, such as recording techniques, synthesizers, and digital production tools, on the creation and evolution of musical styles.
Analysis of Pop Music Styles: Exploring the characteristics, trends, and innovations in popular music genres and subgenres, including pop, rock, R&B, and electronic dance music (EDM).
The Development of Ballet Music: Tracing the history and stylistic evolution of ballet music, from the Baroque court ballets to the collaborative works of composers and choreographers in the 20th century.
Analysis of Nationalistic Movements in Music: Examining the emergence of nationalistic music movements and the exploration of national identity in compositions from different countries, such as Russian, Czech, or Finnish music.
The Influence of Latin American Music on Global Styles: Analyzing the impact of Latin American musical genres, rhythms, and instruments on global music styles, including salsa, bossa nova, and tango.
Analysis of Contemporary Art Music: Examining the diverse approaches, techniques, and philosophies in contemporary art music compositions, including aleatoric music, spectralism, and post-minimalism.
The Development of Sacred Music: Tracing the evolution of sacred music styles and genres, from Gregorian chant and Renaissance polyphony to contemporary sacred compositions.
Analysis of Electronic Music Styles: Exploring the characteristics and subgenres of electronic music, including techno, house, ambient, and experimental electronic compositions.
The Influence of Eastern Musical Traditions on Western Music: Investigating the impact of Eastern musical traditions, such as Indian classical music or Japanese traditional music, on Western compositions and styles.
Analysis of Protest Songs and Political Music: Examining the role of music as a vehicle for social and political commentary, analyzing protest songs and politically charged compositions throughout history.

Music theory serves as a vital foundation for musicians, composers, and enthusiasts alike, offering a rich tapestry of knowledge and understanding. By delving into the fundamentals of music theory, exploring the intricacies of harmony, melody, counterpoint, form, orchestration, analysis, counterpoint and fugue, modal and chromatic harmony, contemporary techniques, and the vast expanse of music history and styles, we gain deeper insights into the language of music. Through these 25 essay topics, we have uncovered a myriad of possibilities for further exploration and research. Whether you are a student, a musician, or simply an appreciator of music, may this article inspire you to dive deeper into the fascinating realm of music theory and its profound impact on the creation and interpretation of music throughout history and across genres.

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A Research Guide
Research Paper Topics

120 Music Research Paper Topics

How to choose a topic for music research paper:.

Music Theory Research Paper Topics:

The influence of harmonic progression on emotional response in music
Analyzing the use of chromaticism in the compositions of Johann Sebastian Bach
The role of rhythm and meter in creating musical tension and release
Examining the development of tonality in Western classical music
Exploring the impact of cultural and historical context on musical form and structure
Investigating the use of polyphony in Renaissance choral music
Analyzing the compositional techniques of minimalist music
The relationship between melody and harmony in popular music
Examining the influence of jazz improvisation on contemporary music
The role of counterpoint in the compositions of Ludwig van Beethoven
Investigating the use of microtonality in experimental music
Analyzing the impact of technology on music composition and production
The influence of musical modes on the development of different musical genres
Exploring the use of musical symbolism in film scoring
Investigating the role of music theory in the analysis and interpretation of non-Western music

Music Industry Research Paper Topics:

The impact of streaming services on music consumption patterns
The role of social media in promoting and marketing music
The effects of piracy on the music industry
The influence of technology on music production and distribution
The relationship between music and mental health
The evolution of music genres and their impact on the industry
The economics of live music events and festivals
The role of record labels in shaping the music industry
The impact of globalization on the music industry
The representation and portrayal of gender in the music industry
The effects of music streaming platforms on artist revenue
The role of music education in fostering talent and creativity
The influence of music videos on audience perception and engagement
The impact of music streaming on physical album sales
The role of music in advertising and brand marketing

Music Therapy Research Paper Topics:

The effectiveness of music therapy in reducing anxiety in cancer patients
The impact of music therapy on improving cognitive function in individuals with Alzheimer’s disease
Exploring the use of music therapy in managing chronic pain
The role of music therapy in promoting emotional well-being in children with autism spectrum disorder
Music therapy as a complementary treatment for depression: A systematic review
The effects of music therapy on stress reduction in pregnant women
Examining the benefits of music therapy in improving communication skills in individuals with developmental disabilities
The use of music therapy in enhancing motor skills rehabilitation after stroke
Music therapy interventions for improving sleep quality in patients with insomnia
Exploring the impact of music therapy on reducing symptoms of post-traumatic stress disorder (PTSD)
The role of music therapy in improving social interaction and engagement in individuals with schizophrenia
Music therapy as a non-pharmacological intervention for managing symptoms of dementia
The effects of music therapy on pain perception and opioid use in hospitalized patients
Exploring the use of music therapy in promoting relaxation and reducing anxiety during surgical procedures
The impact of music therapy on improving quality of life in individuals with Parkinson’s disease

Music Psychology Research Paper Topics:

The effects of music on mood and emotions
The role of music in enhancing cognitive abilities
The impact of music therapy on mental health disorders
The relationship between music and memory recall
The influence of music on stress reduction and relaxation
The psychological effects of different genres of music
The role of music in promoting social bonding and cohesion
The effects of music on creativity and problem-solving abilities
The psychological benefits of playing a musical instrument
The impact of music on motivation and productivity
The psychological effects of music on physical exercise performance
The role of music in enhancing learning and academic performance
The influence of music on sleep quality and patterns
The psychological effects of music on individuals with autism spectrum disorder
The relationship between music and personality traits

Music Education Research Paper Topics:

The impact of music education on cognitive development in children
The effectiveness of incorporating technology in music education
The role of music education in promoting social and emotional development
The benefits of music education for students with special needs
The influence of music education on academic achievement
The importance of music education in fostering creativity and innovation
The relationship between music education and language development
The impact of music education on self-esteem and self-confidence
The role of music education in promoting cultural diversity and inclusivity
The effects of music education on students’ overall well-being and mental health
The significance of music education in developing critical thinking skills
The role of music education in enhancing students’ teamwork and collaboration abilities
The impact of music education on students’ motivation and engagement in school
The effectiveness of different teaching methods in music education
The relationship between music education and career opportunities in the music industry

Music History Research Paper Topics:

The influence of African music on the development of jazz in the United States
The role of women composers in classical music during the 18th century
The impact of the Beatles on the evolution of popular music in the 1960s
The cultural significance of hip-hop music in urban communities
The development of opera in Italy during the Renaissance
The influence of folk music on the protest movements of the 1960s
The role of music in religious rituals and ceremonies throughout history
The evolution of electronic music and its impact on contemporary music production
The contribution of Latin American musicians to the development of salsa music
The influence of classical music on film scores in the 20th century
The role of music in the Civil Rights Movement in the United States
The development of reggae music in Jamaica and its global impact
The influence of Mozart’s compositions on the classical music era
The role of music in the French Revolution and its impact on society
The evolution of punk rock music and its influence on alternative music genres

Music Sociology Research Paper Topics:

The impact of music streaming platforms on the music industry
The role of music in shaping cultural identity
Gender representation in popular music: A sociological analysis
The influence of social media on music consumption patterns
Music festivals as spaces for social interaction and community building
The relationship between music and political activism
The effects of globalization on local music scenes
The role of music in constructing and challenging social norms
The impact of technology on music production and distribution
Music and social movements: A comparative study
The role of music in promoting social change and social justice
The influence of socioeconomic factors on music taste and preferences
The role of music in constructing and reinforcing gender stereotypes
The impact of music education on social and cognitive development
The relationship between music and mental health: A sociological perspective

Classical Music Research Paper Topics:

The influence of Ludwig van Beethoven on the development of classical music
The role of women composers in classical music history
The impact of Johann Sebastian Bach’s compositions on future generations
The evolution of opera in the classical period
The significance of Mozart’s symphonies in the classical era
The influence of nationalism on classical music during the Romantic period
The portrayal of emotions in classical music compositions
The use of musical forms and structures in the works of Franz Joseph Haydn
The impact of the Industrial Revolution on the production and dissemination of classical music
The relationship between classical music and dance in the Baroque era
The role of patronage in the development of classical music
The influence of folk music on classical composers
The representation of nature in classical music compositions
The impact of technological advancements on classical music performance and recording
The exploration of polyphony in the works of Johann Sebastian Bach

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115 Popular Music Essay Topic Ideas & Examples

Inside This Article

Music has always been a powerful form of expression, and popular music in particular has the ability to shape culture and society. If you are tasked with writing an essay on popular music, you may find yourself overwhelmed by the sheer number of topics to choose from. To help you narrow down your options and get started on your essay, here are 115 popular music essay topic ideas and examples.

The impact of social media on the music industry
The evolution of music streaming services
The role of women in the music industry
The influence of technology on music production
The rise of K-pop in the global music market
The impact of the internet on music distribution
The role of music in political movements
The portrayal of race and ethnicity in popular music
The influence of music on fashion trends
The role of music in advertising
The impact of music festivals on local economies
The relationship between music and mental health
The evolution of music videos
The influence of popular music on language and slang
The role of social justice in popular music
The impact of music streaming on album sales
The rise of TikTok as a platform for discovering new music
The influence of popular music on youth culture
The role of music in shaping identity
The impact of music piracy on the music industry
The portrayal of gender in popular music
The role of music in shaping societal norms
The influence of popular music on political campaigns
The evolution of music genres
The impact of music awards shows on the industry
The relationship between music and nostalgia
The role of music in protest movements
The influence of popular music on film and television
The portrayal of love and relationships in popular music
The impact of social media influencers on music trends
The evolution of music marketing strategies
The role of music in cultural appropriation
The influence of popular music on fashion trends
The impact of music festivals on tourism
The relationship between music and dance
The role of music in shaping generational identities
The influence of popular music on consumer behavior
The portrayal of masculinity in popular music
The impact of music education on academic achievement
The evolution of music production techniques
The role of music in branding and advertising
The influence of popular music on language and communication
The impact of music streaming on artist royalties
The relationship between music and emotion
The role of music in social movements
The influence of popular music on body image
The portrayal of sexuality in popular music
The impact of music festivals on environmental sustainability
The evolution of music journalism
The role of music in cultural diplomacy
The impact of music videos on artist visibility
The relationship between music and memory
The role of music in shaping cultural identity
The influence of popular music on social media trends
The portrayal of mental health in popular music
The impact of music festivals on local communities
The evolution of music distribution platforms
The role of music in shaping political ideologies
The influence of popular music on social justice movements
The impact of music streaming on artist discovery
The relationship between music and technology
The role of music in healing and therapy
The influence of popular music on consumer trends
The portrayal of race and ethnicity in music videos
The impact of music festivals on artist careers
The evolution of music criticism
The role of music in cultural assimilation
The influence of popular music on social norms
The impact of music education on creativity
The relationship between music and spirituality
The role of music in storytelling
The influence of popular music on political discourse
The portrayal of gender identity in popular music
The role of music in cultural preservation
The portrayal of love and relationships in music videos
The impact of music streaming on artist exposure
The role of music in shaping social movements
The influence of popular music on body positivity
The evolution of music journalism in the digital age
The role of music in shaping cultural identities
The portrayal of mental health in music lyrics

These popular music essay topic ideas and examples should help you get started on your essay and explore the diverse and fascinating world of popular music. Whether you are interested in the impact of technology on the music industry, the portrayal of social issues in music, or the role of music in shaping cultural identities, there is a topic for everyone in the world of popular music. Happy writing!

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431 Music Essay Topics & Ideas

Icon Calendar 18 May 2024
Icon Page 4272 words
Icon Clock 19 min read

Music essay topics explore diverse areas of music for academic or personal writing. This comprehensive collection of ideas encourages intellectual curiosity with topics ranging from historical musicology to contemporary pop culture. It also offers thematic ideas, like examining musical elements, understanding music’s societal influences, or analyzing distinct music genres. Aspiring musicologists, students, or avid music enthusiasts will find this article highly valuable for its broad spectrum and adaptable nature, suitable for various writing levels and interests. In this case, people delve deeper into music’s rich legacy, challenging them to form original perspectives and contribute to the larger discourse on music. Hence, this article on many music essay topics is a valid resource for unlocking the academic and artistic potential of music.

Hot Music Essay Topics

The Cultural Impact of British Invasion Bands in the 1960s
Decoding the Evolution of Hip-Hop From the 1970s to Today
How Music Streaming Platforms Are Revolutionizing the Music Industry
The Role of Music in Social Movements: A Deep Dive Into the Civil Rights Era
The Pervasive Influence of Jazz on Contemporary Music Genres
Punk Rock as the Soundtrack of Rebellion and its Sociopolitical Significance
Exploring the Cultural Phenomenon of Woodstock: Music, Counterculture, and Legacy
A Comprehensive Review of the Effect of Music Therapy on Mental Health
An Analysis of Melody and Harmony in Classical Music
Unraveling the Relationship Between Music and Identity From a Psychological Perspective
Music Meets Technology: The Evolution of Synthesizers in Electronic Music
Behind the Scenes and Processes of the Music Business: The Role of Record Labels
The Cultural Appropriation Controversy in the Realm of Popular Music
Tracing the Influence of African Music on American Blues and Jazz
The Impact of MTV and Music Videos on the Landscape of Pop Culture
A Review of Music Censorship: Historical Cases and Modern Challenges
Women in the Music Industry: Understanding the Barriers and Celebrating the Breakthroughs
The Effect of Globalization on the Dissemination of Non-Western Music Genres
The Role and Impact of Music in Education: An Examination of School Music Programs
The Beatles vs. The Rolling Stones: A Comparative Analysis of Musical Style and Influence

Easy Music Essay Topics

Evolution of Pop Music Genre in the 21st Century
Impact of Technology on Music Production
Influence of Classical Music on Modern Genres
Societal Relevance of Protest Songs in History
Examining the Relationship Between Music and Emotion
Significance of Traditional Music in Cultural Identity
Rap Music’s Influence on Youth Culture
Beatles’ Effect on Rock ‘n’ Roll Development
Comparison Between Baroque and Renaissance Music
Exploration of Music Therapy and Its Benefits
Film Scores: Music’s Pivotal Role in Cinema
Interrelation between Dance and Rhythm in Music
Globalization’s Impact on World Music Genres
Cultural Representation in Broadway Musicals
Feminism in Pop Music: Empowering or Exploitative?
Genre Fusion: How Reggae Influenced Hip-Hop
Psychological Effects of Music on Human Behavior
Depiction of Love in Country Music Lyrics
Dissecting the Business Model of Streaming Services in the Music Industry

Interesting Music Essay Topics

Unraveling the Impact of Music on Cognitive Development
Globalization and Its Influence on Music Genres
History and Evolution of Jazz: A Cultural Perspective
Healing Powers of Music: Fact or Fiction?
Pop Culture’s Influence on Contemporary Music
The Role of Music in Social Movements
Analyzing the Cultural Significance of Hip-Hop
The Science Behind Music’s Effect on Mood
Exploring the Artistic Value of Album Cover Designs
Autotune and Digitization: Blessing or Curse for the Music Industry?
Representation of Gender and Sexuality in Pop Music
Ethical Implications of Music Streaming Services
The Connection Between Music and Emotions: A Psychological Analysis
Evolution of Music Production Techniques: A Technological Study
Indie Music Scene: A Study of Its Growth and Impact
Music Festivals: Economic and Cultural Implications
Music Education: Its Importance in Schools
Role of Music in Film and Television: A Comprehensive Analysis
The Phenomenon of K-Pop: Cultural Exchange and Globalization
Copyright Laws and Their Impact on the Music Industry

100 General Music Essay Topics

The Future of Music: Exploring AI and Machine Learning
Nurturing Music Education in Schools
Ethical Considerations in Music Piracy
Women in the Music Industry: Breaking Barriers and Empowering Change
Reggae’s Global Impact on Music Styles
Unveiling the Popularity of K-Pop
Music’s Impact on Cognitive Development
Music Censorship: Perspectives From Around the World
Cultural Identity Formation and the Power of Music
The Interplay of Music and Politics
The Cinematic Power of Music: Exploring Soundtracks
The Music Festival Business: Strategies and Successes
The Emergence of Indie Music: A New Era of Creativity
Latin Music’s Influence on Global Pop Culture
Music’s Role in Enhancing Physical Performance
The Science Behind Sound: An Introduction to Acoustics
Exploring the History of Electronic Music
The British Invasion’s Impact on American Music
Music’s Therapeutic Role: Healing and Transforming Lives
Boy Bands and Girl Groups: Cultural Phenomena in Music
Motown Records: Shaping Music and Culture
Country Music’s Influence on American Identity
The Sociology of Music: Exploring Fan Culture and Subcultures
Music’s Emotional Power: Understanding Mood and Emotion
The Evolution of Music Videos: From MTV to YouTube
Reviving Vinyl Records in the Digital Age
The Beatles’ Enduring Legacy in Modern Music
Streaming Services and the Changing Landscape of Music Consumption
Unraveling the Psychology of Musical Preferences
Music Globalization: Bridging Cultures and Connecting Hearts
Music’s Role in Spiritual and Religious Practices
The Fusion of Music and Visual Arts
Music and Mindfulness: Exploring Meditation and Sound
Blues Music: A Cultural Significance
Opera’s Influence on Modern Theatrical Music
Transforming Music Production in the Digital Era
Music’s Impact on Childhood Development
Rock and Roll: Revolutionizing Social Change
Ethnomusicology: Understanding Music in Cultural Context
The Complex Relationship Between Music and Violence
Music’s Role in Promoting Social Inclusion
Punk Music’s Impact on Youth Culture: Rebellion, Expression, and Identity
Copyright Laws in Music: Balancing Protection and Creativity
Harnessing the Power of Music in Advertising: Soundtracks, Emotions, and Branding
LGBTQ+ Representation in the Music Industry: Breaking Barriers and Amplifying Voices
The Influence of Gospel Music on the R&B and Soul Genres: Roots and Inspirations
Music’s Cultural Role in Indigenous Communities: Tradition, Identity, and Resilience
Music’s Impact on Workplace Productivity: Boosting Focus, Motivation, and Performance
Disco’s Influence on Dance Music: Rhythm, Groove, and Dancefloor Revolution
Music as a Voice of Protest: From Folk Anthems to Punk Anthems
Grunge Music: The Rise of Alternative Rock and Its Lasting Impact
Music Sampling: Artistic Innovation or Plagiarism Debate?
The Influence of Rap Music on Modern Poetry: Rhyme, Rhythm, and Social Commentary
Music Technology’s Impact on Live Performances: Innovation, Integration, and Audience Experience
Music’s Narration in Film: Enhancing Emotion, Atmosphere, and Storytelling
The Evolution of Music Genres: Shaping Sounds, Styles, and Cultural Trends
From Vinyl to Digital: Exploring the Art of DJing and Its Technological Transformations
Music’s Role in Language Learning: Enhancing Linguistic Skills and Cultural Understanding
Music’s Contribution to Raising Awareness of Sustainable Development Goals
Exploring the Frontier of Music in Virtual Reality: Immersive Experiences and Creative Possibilities
The Role of Music in Video Games: Immersion, Atmosphere, and Player Engagement
Evolving Children’s Music: From Traditional Rhymes to Educational Entertainment
The Impact of Online Channels and Social Media on Music Promotion: Reaching Audiences, Building Communities
Classical Music’s Influence on Cognitive Abilities: Memory, Focus, and Mental Development
Flamenco Music’s Cultural Significance: Expressing Passion, Heritage, and Identity
The Evolution and Impact of Music Television Channels: Shaping Popular Culture and Music Consumption
Folk Music’s Influence on Modern Singer-Songwriters: Traditions, Storytelling, and Contemporary Expressions
Music’s Therapeutic Role in Dementia and Alzheimer’s Treatment: Memory, Connection, and Quality of Life
Broadway Musicals’ Influence on Popular Culture: Theatrical Magic, Showmanship, and Entertainment
The #MeToo Movement’s Impact on the Music Industry: Addressing Abuse, Empowering Change
Music’s Role in Teenage Identity Formation: Expression, Belonging, and Self-Discovery
African American Music Evolution: From Spirituals to Hip-Hop
The History and Influence of Bollywood Music: Celebrating India’s Cinematic Melodies
Music Genres’ Effect on Exercise Performance: Rhythm, Tempo, and Motivation
Music’s Role in Climate Change Awareness: Advocacy, Inspiration, and Environmental Impact
Heavy Metal Music: Evolution, Subgenres, and Cultural Influence
Mariachi Music’s Cultural Significance: Tradition, Celebration, and Mexican Heritage
Technology’s Influence on Music Creation: Digital Tools, Production Techniques, and Creative Possibilities
Music’s Role in Autism Therapy: Communication, Expression, and Emotional Support
Music’s Impact on Stress and Anxiety Reduction: Relaxation, Mindfulness, and Wellness
The Influence of Music on Sleep Quality: Relaxation, Sleep Patterns, and Sleep Hygiene
Evolving Music Criticism in the Digital Age: From Print to Online Platforms
Music’s Role in Multicultural Education: Celebrating Diversity, Promoting Inclusion
The History and Influence of Salsa Music: Rhythm, Dance, and Cultural Fusion
Music’s Impact on Consumer Behavior in Retail: Atmosphere, Branding, and Purchase Decisions
Music’s Influence on Memory Recall: Soundtracks, Nostalgia, and Emotional Connections
Music’s Role in Post-Traumatic Stress Disorder Treatment: Healing, Coping, and Resilience
The History and Influence of J-Pop Music: Pop Culture, Fashion, and Global Fanbase
The Impact of Music on Early Childhood Education: Development, Learning, and Creativity
Music’s Influence on the Perception of Time: Tempo, Rhythm, and Psychological Effects
Music’s Role in Community Development: Collaboration, Empowerment, and Social Change
Psychedelic Rock’s Influence on Contemporary Music: Innovation, Counterculture, and Sonic Exploration
Rehabilitation and Recovery: The Transformative Role of Music
Reggaeton Music: Cultural Origins, Influence, and Global Reach
Music’s Impact on Neuroplasticity: Brain Development, Learning, and Cognitive Abilities
Celtic Music’s Influence on Modern Folk Genres: Traditions, Melodies, and Cultural Connections
The Creative Spark: Music’s Role in Enhancing Creativity
Swing Music: The History, Style, and Enduring Appeal
The Role of Music in Pain Management: Soothing, Distraction, and Therapeutic Effects
Ambient Music’s Influence on Relaxation and Mindfulness: Creating Tranquil Soundscapes

Argumentative Music Essay Topics

Pop Music’s Influence on Youth: Impact or Exploitation?
The Appropriation vs. Appreciation Debate in Music
Evaluating the Effects of Digital Streaming on Artists’ Earnings
Autotune: Enhancing Music or Undermining Talent?
Exploitation in the Music Industry: A Reality Check
Does Music Genre Define Individual Personality Traits?
Impact of Explicit Content in Music: Artistic Freedom or Harmful Influence?
Music Censorship: Necessary Measure or Infringement of Rights?
Should Music Education Be Mandatory in Schools?
Influence of Western Music on Other Cultures: Cultural Exchange or Dominance?
The Commercialization of Indie Music: Evolution or Degradation?
Are Reality Music Shows Truly Beneficial for Aspiring Musicians?
Music Therapy: Genuine Healing Method or Placebo Effect?
Classical Music’s Relevance in the Modern Era: Declining or Evolving?
The Ethics of Sampling in Modern Music Production
Role of Music in Film: Essential Component or Marketing Tactic?
Is The Popularity of an Artist Reflective of Their Musical Talent?
Music Piracy: Fair Use or Unfair Practice?
Do Music Festivals Promote Cultural Integration or Commodification?
Boy Bands Phenomenon: Musical Skill or Mere Fan Frenzy?

Research Music Essay Topics

Analyzing the Evolution of Punk Rock Music
The Role of Folk Music in Preserving Cultural Heritage
Impacts of Technology on Music Production and Distribution
Understanding the Psychological Effects of Music Therapy
Classical Music: Its Influence on Modern Genres
Musical Improvisation: An Analysis of Jazz and Blues
The Impact of Social Issues on Hip-Hop Lyrics
Exploring the Economic Aspects of the Music Industry
Evolution of Music Videos: Artistic Expression or Commercial Endeavor?
The Effect of Digital Streaming on Independent Musicians
The Phenomenon of Boy Bands: Sociocultural Aspects
Censorship in Music: A Comparative Study Across Nations
Evaluating the Role of Soundtracks in Movies
Impact of Music Education on Child Development
The Relationship Between Dance and Music: A Cultural Exploration
Gender Representation in Music: A Critical Analysis
The Influence of Latin Music on Popular Culture
Ethnomusicology: Studying Music in Its Cultural Context
The Role of Music in Historical Events and Movements

World Music Essay Topics

African Music Traditions: Influence and Evolution
The Role of Music in Indigenous Cultures
Exploring the Diversity of Asian Music Genres
Flamenco: An Insight Into Spanish Music and Dance
Celtic Music: Its Roots and Influence on Contemporary Genres
The Impact of Reggae on Global Music Culture
Analyzing the Musical Elements of Bollywood Film Scores
Samba: The Rhythmic Heartbeat of Brazil
Origins and Development of American Blues Music
Middle Eastern Music: Exploring Its Unique Characteristics
The Cultural Significance of Australian Aboriginal Music
Understanding the Evolution of European Classical Music
The Role of Music in Caribbean Festivals and Celebrations
The Influence of French Chanson on Popular Music
Traditional Music’s Role in Cultural Preservation: Case Study of Japanese Gagaku
The Impact of Greek Folk Music on Mediterranean Musical Traditions
The Intersection of Music and Religion in Indian Ragas
Exploring the Cultural Diversity in Mexican Music
The Historical Evolution of Russian Folk Music
Musical Instruments and Their Role in Defining Cultural Identity: The African Djembe as a Case Study

Hip-Hop Music Essay Topics

Hip-Hop: A Powerful Medium for Social Commentary
Examining the Influence of Hip-Hop on Fashion Trends
Roles of Sampling in the Artistic Identity of Hip-Hop
Exploring the Controversy: Does Hip-Hop Promote Violence?
The Cultural Significance of Beatboxing in Hip-Hop
Analyzing the Impact of Hip-Hop on Language and Slang
The Influence of Hip-Hop on Pop Culture
Feminism in Hip-Hop: Progress and Challenges
How Does Hip-Hop Music Address Racial Issues?
The Economics of the Hip-Hop Industry
Evolution of Dance Styles in Hip-Hop Culture
Hip-Hop’s Influence on Mental Health Discourse
East Coast vs. West Coast: The Hip-Hop Rivalry
The Impact of Digital Platforms on Hip-Hop Music Distribution
Analyzing the Role of DJs in Hip-Hop Culture
Hip-Hop and Its Influence on Global Music Genres
The Commercialization of Hip-Hop: Artistic Freedom or Selling Out?
Autobiographical Storytelling in Hip-Hop: A Tool for Empowerment

Pop Music Essay Topics

Gender Representation in the Pop Music Industry
The Global Impact of K-Pop: An Unstoppable Phenomenon
Influence of Pop Music on Teenagers’ Attitudes and Behaviors
Autotune: Enhancement or Detriment to Pop Music?
The Role of Music Videos in the Pop Culture Landscape
Analyzing the Success of Boy Bands in Pop Music
Cultural Appropriation Concerns in the Pop Music Industry
Power Dynamics: Examining the Business Behind Pop Music
How Social Media Transformed Pop Music Stardom
From Pop Divas to Feminist Icons: A Shift in Representation
Latin Pop’s Rising Influence on the Global Music Scene
Pop Music Lyrics: Reflection of Social Issues or Simple Entertainment?
Technology’s Role in Shaping the Sound of Modern Pop Music
Science of a Pop Hit: Factors that Influence Chart Success
Mental Health and Its Portrayal in Pop Music
Pop Music Collaborations: A Marketing Strategy or Artistic Choice?
The Influence of Western Pop Music in Non-Western Countries
Exploring the Relationship Between Pop Music and Dance
The Ethical Implications of Sampling in Pop Music

Rock Music Essay Topics

The Crossroads of Rock and Pop: Evolution of Pop Rock
Grunge Rock: Its Origins, Influence, and Decline
Influence of Rock Music on Fashion Trends Over the Decades
The Role of Rebellion Themes in Rock Music
Gender Representation and Dynamics in Rock Music
The Significance of Live Performances in the Rock Music Scene
The Fusion of Blues and Rock: A Historical Overview
How Technological Advances Shaped the Sound of Rock Music
Rock Music as a Tool for Social Activism and Change
Psychedelic Rock and Its Effect on the Music Industry
Heavy Metal: A Subgenre of Rock Music With Distinctive Features
How Has Punk Rock Challenged Mainstream Music Norms?
Rock Music in Movies: Enhancing Narrative and Emotion
Analyzing the Pioneers of Rock and Roll: Their Legacy and Influence
Cultural Impact of the British Invasion in the 1960s
The Evolution of Rock Music: From Roots to Contemporary Forms
Roles of Music Festivals in the Promotion of Rock Music
Examining the Lyrics of Rock Music: Sociopolitical Commentary
The Impact of Rock Music on Teenagers’ Behavioral Patterns
Exploring the Relationship Between Rock Music and Youth Culture

Dance Music Essay Topics

Dance Music and Its Role in Promoting Physical Health
The Rise and Influence of Dubstep in Contemporary Dance Music
The Business of Dance Music: From Record Labels to Streaming Platforms
Role of Technology in the Development of Electronic Dance Music
The Influence of Cultural Diversity on Dance Music Genres
Dance Music in Film: Enhancing Narrative and Atmosphere
Understanding the DJ’s Role in Shaping Dance Music Culture
Tracing the Origins and Evolution of House Music
The Social Impact of Club Culture on Dance Music
Music Production Techniques in Modern Dance Genres
Choreography and Dance Music: An Inseparable Pair
The Impact of Dance Music on Pop Culture
How Does Dance Music Shape Fashion Trends?
Commercialization of Dance Music: Pros and Cons
Exploration of Gender Dynamics in the Dance Music Scene
Dance Music Festivals: Impact on Tourism and Local Economies
Analyzing the Global Appeal of K-Pop Dance Music
The Relationship Between Dance Music and Youth Culture
Evolution of Dance Music: From Disco to Electronic

Relax Music Essay Topics

Science Behind Relaxing Music: How Does It Affect Our Brain?
Evolution of Relaxing Music: From Classical to New Age
The Role of Music in Yoga and Meditation Practices
Analyzing the Impact of Relaxing Music on Sleep Quality
Soundscapes in Relaxation Music: From Nature Sounds to White Noise
Relaxing Music and Its Influence on Stress and Anxiety Levels
The Significance of Tempo and Rhythm in Relaxing Music
The Use of Relaxing Music in Therapeutic Settings
Understanding the Cultural Differences in Relaxation Music
Relaxing Music in the Classroom: Does It Enhance Learning?
Impacts of Relaxing Music on Heart Rate and Blood Pressure
Roles of Relaxing Music in Improving Concentration and Focus
Relaxing Music and Its Effects on Post-Workout Recovery
Use of Relaxation Music in Maternity Wards and Its Effect on Newborns
Harmonic Structures Commonly Found in Relaxing Music
The Influence of Ambient Music on Mental Well-being
Roles of Music Therapy in Reducing Anxiety and Pain in Patients
Can Relaxing Music Enhance the Quality of Meditation?
Binaural Beats and Isochronic Tones: Do They Help in Relaxation?
Relaxing Music in Workplaces: Impact on Productivity and Employee Satisfaction

Indie Music Essay Topics

An Examination of the Business Strategies Employed in the Indie Music Scene
The Progressive Influence of Technology on Indie Music’s Growth
Decoding the Artistic Liberty Inherent in Indie Music Creation
Cultural Connotations and Impacts Linked to Indie Music: An Analysis
Indie Music’s Contributions to Fashion and Contemporary Lifestyle Phenomena
The Part Indie Music Plays in Challenging Dominant Pop Culture
Tracing the Evolution and Influence of Indie Music Within the Music Industry
A Comparative Study on the Unique Aesthetics Found in Indie Music
The Rise of DIY Practices in Indie Music Culture: An Ethnographic Perspective
The Correlation Between Indie Music and Socio-Political Discourse Advocacy
Indie Music Festivals: An Analysis of Their Distinctive Features and Attraction
Roles and Impacts of Internet Technology and Social Media in Advancing the Popularity of Indie Music
How Indie Music Affects Identity Development: A Psychological View?
Understanding the Intersection of Indie Music and Independent Cinema
Investigating Gender Depictions Within the Indie Music Scene: A Thematic Study
The Challenges and Prospects Faced by Indie Artists in Today’s Digital Era
A Deep Dive Into the Shifting Soundscapes in Indie Music Over Time
The Influence of Indie Music on Modern Youth Culture From a Sociological Angle
Indie Music as a Tool for Artistic and Cultural Dissent

Training Music Essay Topics

The Science Behind Music and Its Impact on Athletic Performance
Rhythmic Influence: How Music Affects Training Patterns
Understanding the Psychology of Training Music: A Detailed Analysis
Evaluating the Role of Music in Enhancing Concentration During Training
The Impact of Music Tempo on Training Intensity
Role of Training Music in Stress Reduction and Relaxation
The Use of Music in Rehabilitation Training: A Therapeutic Perspective
Music Preferences Among Athletes: An Ethnographic Study
How Training Music Facilitates Flow State in Athletes
Exploring the Relationship Between Music Genres and Training Types
Music’s Influence on Physical Endurance and Stamina
The Art of Curating Effective Training Music Playlists
Roles of Music in Reducing Perceived Exertion During Workouts
Harmonizing Heart Rate and Beat: Music’s Role in Cardio Training
Psychological Benefits of Incorporating Music Into Fitness Training
Music and Mindfulness in Training: A New Approach
The Impact of Lyrics in Training Music on Athlete Motivation
The Interplay of Music and Training in Dance and Choreography
Sonic Branding: The Use of Music in Athletic Training Brands
Historical Development of Music Usage in Training Environments

Love Music Essay Topics

The Power of Love Ballads: Analyzing Their Emotional Impact on Listeners
Unveiling the Romantic Themes in Pop Music: A Comparative Analysis
Exploring the Evolution of Love Songs: From Classic to Contemporary
Melodies of Passion: Examining the Role of Music in Expressing Love and Desire
The Language of Love: Understanding Symbolism in Romantic Music Lyrics
Captivating Melodies, Enduring Love: A Study on Timeless Love Songs
Rhythm of the Heart: Analyzing the Role of Music in Strengthening Romantic Connections
Love in Every Note: Exploring the Intertwining of Music and Romantic Relationships
Harmonic Love Stories: Examining Musical Narratives of Love and Heartbreak
The Influence of Love Songs on Romantic Expectations and Perceptions of Love
The Soundtrack of Love: Investigating the Impact of Music on Relationship Satisfaction
Love Across Genres: Comparing the Expression of Love in Different Musical Styles
Musical Chemistry: Exploring the Role of Shared Music Preferences in Romantic Bonds
Unforgettable Duets: The Magic of Collaborative Love Songs
Musical Love Letters: Examining the Role of Music in Long-Distance Relationships
Love and Lyrical Evolution: Tracing the Changes in Romantic Themes in Music History
The Healing Power of Love Songs: Analyzing Their Therapeutic Effects on Emotional Well-Being
The Intersection of Love and Social Commentary in Music: Examining Love as a Catalyst for Change
Love in the Digital Age: Investigating the Influence of Streaming Platforms on Love Music Consumption

Metal Music Essay Topics

Tracing the Evolution of Metal Music: Unraveling Its Origins and Diverse Subgenres
Identity Formation and Subcultural Affiliation in Metal Music: Examining Its Influential Impacts
Shattering Gender Norms in Metal Music: Defying Stereotypes and Empowering Voices
Mental Health and Catharsis in Metal Music: Unleashing Its Profound Impact on Well-Being
Decoding the Themes and Symbolism in Metal Music Lyrics: Unveiling Perspectives and Social Commentary
The Political Potency of Metal Music: Galvanizing Activism and Fueling Protest Movements
Innovations and Controversies in Metal Music Production: Embracing Technological Advancements and Provocations
Globalization and Metal Music: Cross-Cultural Exchange and the Fusion of Sonic Landscapes
Aesthetics and Visual Imagery in Metal Music: Embodying Power through Striking Album Art and Electrifying Stage Performances
Spirituality, Religion, and Metal Music: Exploring Intersections and Controversial Explorations
Metal Music as a Catalyst for Subversion: Igniting Rebellion Through Its Countercultural Essence
Pop Culture Impact: Illuminating the Profound Influence of Metal Music on Fashion, Media, and Widespread Popularity
Language and Expression in Metal Music: Analyzing Lyrics and Communication Within Vibrant Subcultural Communities
Historical and Cultural Contexts of Metal Music: Forging Identity, Revolting, and Carrying Cultural Significance
Metal Music Communities: Forging Unbreakable Bonds through Online Spaces, Fan Clubs, and Transformative Rituals
The Influence of Metal Music on Music Education: Navigating Challenges and Unleashing Transformative Possibilities in Pedagogy
Ethnic Identity and Metal Music: Representing, Appropriating, and Enriching Cultural Heritage
The Economic, Social, and Cultural Impacts of Metal Music Festivals in the Live Music Industry
Metal Music in the Digital Age: Navigating Digital Platforms, Streaming, and Thriving Online Communities
Empowerment, Catharsis, and Resilience: Unleashing the Transformative Potential of Metal Music on Health and Well-Being

Jazz Music Essay Topics

Unveiling the Influence and Significance: Exploring Jazz as a Catalyst for Cultural Revolution
The Art of Improvisation: Unraveling the Creative Process in Jazz Music
Examining the Contributions of Pioneering Musicians: The Innovators Who Shaped Jazz
Blending Genres and Pushing Musical Boundaries: The Fusion of Jazz With Other Styles
The Intersection of Music and Social Change: Jazz’s Role in the Civil Rights Movement
Analyzing the Elements that Define the Genre: The Aesthetics of Jazz Music
Nurturing the Next Generation of Jazz Musicians: The Importance of Jazz Education
Celebrating Black American Artistic Expression: Jazz and the Harlem Renaissance
Exploring Cultural Adaptations and Influences: Jazz in a Global Context
Unlocking the Secrets of Jazz Harmony and Structure: Composition and Arranging in Jazz Music
Celebrating Female Jazz Musicians and Their Contributions: The Role of Women in Jazz
Bridging Cultures through Rhythms and Sounds: Jazz and Its Fusion With Latin Music
Pushing the Boundaries of Musical Expression: Jazz and the Avant-Garde Movement
Tracing the Roots of the Genre: Jazz and Its Influences From African Rhythms
Examining the Unique Style and Artistry of Jazz Singers: Vocalists in Jazz Music
From Duke Ellington to Count Basie and Beyond: Exploring the Jazz Big Band Tradition
Embracing Technology while Preserving Tradition: Jazz in the Digital Age
Understanding the Essential Groove of the Genre: Jazz and the Concept of Swing
Preserving Jazz’s Worldwide Appeal and Adaptation: Jazz as a Global Language

Classical Music Essay Topics

The Influence of Musical Structure on Emotional Responses in Classical Compositions Explored
Gender Representation in Classical Music: A Comparative Study
Relationship Between Tempo and Perceived Expressiveness in Beethoven’s Symphonies Examined
Musical Devices Depicting Nature in Classical Orchestral Works Analyzed
Historical Context of Classical Music and Its Connection to Social Movements Explored
Instrumentation’s Role in Interpreting Baroque Music Investigated
Melodic Patterns in Mozart and Bach’s Piano Sonatas: A Comparative Study
Symbolism of Key Signatures in Classical Music Compositions Explored
Influence of Cultural Background on Classical Music Preferences Examined
Harmony’s Role in Classical Chamber Music Analyzed
Musical Techniques Creating Narrative Structures in Classical Operas Explored
Rhythm and Meter in Classical Symphonies: A Comparative Analysis
Connection Between Classical Music and Spatial Perception Explored
Representation of Mythological Themes in Classical Music Compositions Examined
Dynamics and Articulation’s Effect on Interpretation of Romantic Era Piano Music Explored
Role of Improvisation in Classical Music Performances Investigated
Connection Between Classical Music and Memory Retrieval Explored
Influence of National Identity on Classical Music Composers of the 19th Century Examined
Evolution of Orchestration Techniques in Classical Music Explored
Contrapuntal Techniques in Fugues by Classical Composers Examined

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The Top 10 Most Interesting Music Research Topics

Music is a vast and ever-growing field. Because of this, it can be challenging to find excellent music research topics for your essay or thesis. Although there are many examples of music research topics online, not all are appropriate.

This article covers all you need to know about choosing suitable music research paper topics. It also provides a clear distinction between music research questions and topics to help you get started.

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What makes a strong music research topic.

A strong music research topic must be short, straightforward, and easy to grasp. The primary aim of music research is to apply various research methods to provide valuable insights into a particular subject area. Therefore, your topic must also address issues that are relevant to present-day readers.

Also, for your research topic to be compelling, it should not be overly generic. Try to avoid topics that seem to be too broad. A strong research topic is always narrow enough to draw out a comprehensive and relevant research question.

Tips for Choosing a Music Research Topic

Check with your supervisor. In some cases, your school or supervisor may have specific requirements for your research. For example, some music programs may favor a comparative instead of a descriptive or correlational study. Knowing what your institution demands is essential in choosing an appropriate research topic.
Explore scientific papers. Journal articles are a great way to find the critical areas of interest in your field of study. You can choose from a wide range of journals such as The Journal of Musicology and The Journal of the Royal Musical Association . These resources can help determine the direction of your research.
Determine your areas of interest. Choosing a topic you have a personal interest in will help you stay motivated. Researching music-related subjects is a painstakingly thorough process. A lack of motivation would make it difficult to follow through with your research and achieve optimal results.
Confirm availability of data sources. Not all music topics are researchable. Before selecting a topic, you must be sure that there are enough primary and secondary data sources for your research. You also need to be sure that you can carry out your research with tested and proven research methods.
Ask your colleagues: Asking questions is one of the many research skills you need to cultivate. A short discussion or brainstorming session with your colleagues or other music professionals could help you identify a suitable topic for your research paper.

What’s the Difference Between a Research Topic and a Research Question?

A research topic is a particular subject area in a much wider field that a researcher chooses to place his emphasis on. Most subjects are extensive. So, before conducting research, a researcher must first determine a suitable area of interest that will act as the foundation for their investigation.

Research questions are drawn from research topics. However, research questions are usually more streamlined. While research topics can take a more generic viewpoint, research questions further narrow the focus down to specific case studies or seek to draw a correlation between two or more datasets.

How to Create Strong Music Research Questions

Strong music research questions must be relevant and specific. Music is a broad field with many genres and possible research areas. However, your research question must focus on a single subject matter and provide valuable insights. Also, your research question should be based on parameters that can be quantified and studied using available research methods.

2. Hip-hop Culture and Its Effect on Teenage Behavior

In 2020, hip-hop and RnB had the highest streaming numbers , according to Statista. Without a doubt, hip-hop music has had a significant influence on the behavior of young adults. There is still the need to conduct extensive research on this subject to determine if there is a correlation between hip-hop music and specific behavioral patterns, especially among teenagers.

3. The Application of Music as a Therapeutic Tool

For a long time, music has been used to manage stress and mental health disorders like anxiety, PTSD, and others. However, the role of music in clinical treatment still remains a controversial topic. Further research is required to separate fact from fiction and provide insight into the potential of music therapy.

4. Contemporary Rock Music and Its Association With Harmful Social Practices

Rock music has had a great influence on American culture since the 1950s. Since its rise to prominence, it has famously been associated with vices such as illicit sex and abuse of recreational drugs. An excellent research idea could be to evaluate if there is a robust causal relationship between contemporary rock music and adverse social behaviors.

5. The Impact of Streaming Apps on Global Music Consumption

Technology has dramatically affected the music industry by modifying individual music consumption habits. Presently, over 487 million people subscribe to a digital streaming service, according to Statista. Your research paper could examine how much of an influence popular music streaming platforms like Spotify and Apple Music have had on how we listen to music.

6. Effective American Music Education Practices

Teaching practices have always had a considerable impact on students’ academic success. However, not all strategies have an equal effect in enhancing learning experiences for students. You can conduct comparative research on two or more American music education practices and evaluate their impact on learning outcomes.

7. The Evolution of Music Production in the Technology-driven Era

One of the aspects of music that is experiencing a massive change is sound production. More than ever before, skilled, tech-savvy music producers are in high demand. At the moment, music producers earn about $70,326 annually, according to ZipRecruiter. So, your research could focus on the changes in music production techniques since the turn of the 21st century.

8. Jazz Music and Its Influence on Western Music Genres

The rich history of jazz music has established it as one of the most influential genres of music since the 19th century. Over the years, several famous composers and leading voices across many other western music genres have been shaped by jazz music’s sound and culture. You could carry out research on the influence of this genre of music on modern types of music.

9. The Effect of Wars on Music

Wars have always brought about radical changes in several aspects of culture, including music styles. Throughout history, we have witnessed wars result in the death of famous musicians. If you are interested in learning about music history in relation to global events, a study on the impact of wars on music will make an excellent music research paper.

10. African Tribal Percussion

African music is well recognized for its unique application of percussion. Historically, several tribes and cultures had their own percussion instruments and original methods of expression. Unfortunately, this musical style has mainly gone undocumented. An in-depth study into ancient African tribal percussion would make a strong music research paper.

Music Research Questions

What is the relationship between country music and conservationist ideologies among middle-aged American voters?
What is the effect of listening to Chinese folk music on the critical thinking skills of high school students?
How have electronic music production technologies influenced the sound quality of contemporary music?
What is the correlation between punk music and substance abuse among Black-American males?
How does background music affect learning and information retention in children?

Choosing the Right Music Research Topic

Your research topic is the foundation on which every other aspect of your study is built. So, you must select a music research topic that gives you room to adequately explore intriguing hypotheses and, if possible, proffer practically applicable solutions.

Also, if you seek to obtain a Bachelor’s Degree in Music , you must be prepared to conduct research during your study. Choosing the right music research topic is the first step in guaranteeing good grades and delivering relevant, high-quality contributions in this constantly expanding field.

Music Research Topics FAQ

A good music research topic should be between 10 to 12 words long. Long, wordy music essay topics are usually confusing. They can make it difficult for readers to understand the goal of your research. Avoid using lengthy phrases or vague terms that could confuse the reader.

Journal articles are the best place to find helpful resources for your music research. You can explore reputable, high-impact journal articles to see if any research has been done related to your chosen topic. Journal articles also help to provide data for comparison while carrying out your research.

Primary sources carry out their own research and cite their own data. In contrast, secondary sources report data obtained from a primary source. Although primary sources are regarded as more credible, you can include a good mixture of primary and secondary sources in your research.

The most common research methods for music research are qualitative, quantitative, descriptive, and analytical. Your research strategy is arguably the most crucial part of your study. You must learn different research methods to determine which one would be the perfect fit for your particular research question.

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Guide on How to Write a Music Essay: Topics and Examples

Let's Understand What is Music Essay

You know how some school assignments are fun to write by default, right? When students see them on the course syllabus, they feel less like a burden and more like a guaranteed pleasure. They are about our interests and hobbies and therefore feel innate and intuitive to write. They are easy to navigate, and interesting topic ideas just pop into your head without much trouble.

Music essays belong to the category of fun essay writing. What is music essay? Anything from in-depth analysis to personal thoughts put into words and then to paper can fall into a music essay category. An essay about music can cover a wide range of topics, including music history, theory, social impact, significance, and musical review. It can be an analytical essay about any music genre, musical instruments, or today's music industry.

Don't get us wrong, you will still need to do extensive research to connect your opinions to a broader context, and you can't step out of academic writing standards, but the essay writing process will be fun.

In this article, our custom essay writing service is going to guide you through every step of writing an excellent music essay. You can draw inspiration from the list of music essay topics that our team prepared, and later on, you will learn what an outstanding essay on music is by an example of a music review essay.

What are Some Music Topics to Write About

There are so many exciting music topics to write about. We would have trouble choosing one. You can write about various music genres, be it country music or classical music; you can research music therapy or how music production happens.

Okay, forgive us for getting carried away; music makes us enthusiastic. Below you will find a list of various music essay topics prepared from our thesis writing service . Choose one and write a memorable essay about everyone's favorite art form.

Music Argumentative Essay Topics

Music essays can be written about an infinite number of themes. You can even write about performance or media comparison.

Here is a list of music argumentative essay topics. These edge-cutting topics will challenge your readers and get you an easy A+.

Exploring the evolution of modern music styles of the 21st century
Is it ethical to own and play rare musical instruments?
Is music therapy an effective mental health treatment?
Exploring the Intersection of Technology and Creativity in electronic music
The Relevance of traditional music theory in modern music production
The Role of musical pieces in the Transmission of cultural identity
The value of historical analysis in understanding the significance of music in society
How does exposing listeners to different genres of music break down barriers
Exploring the cognitive effects of music on human brain development
The therapeutic potential of music in treating mental disorders

Why is Music Important Essay Topics

Do you know which essay thrills our team the most? The importance of music in life essay. We put our minds together and came up with a list of topics about why music is so central to human life. Start writing why is music important essay, and we guarantee you that you will be surprised by how much fun you had crafting it.

Popular Music and its Role in shaping cultural trends
Music as a metaphorical language for expressing emotions and thoughts
How music changes and influences social and political movements
How the music of different countries translates their history to outsiders
The innate connection between music and human beings
How music helps us understand feelings we have never experienced
Does music affect our everyday life and the way we think?
Examining the cross-cultural significance of music in society
How rock music influenced 70's political ideologies
How rap music closes gaps between different racial groups in the US

Consider delegating your ' write my essay ' request to our expert writers for crafting a perfect paper on any music topic!

Why I Love Music Essay Topics

We want to know what is music to you, and the best way to tell us is to write a why I love music essay. Below you will find a list of music essay topics that will help you express your love for music.

I love how certain songs and artists evoke Memories and Emotions
I love the diversity of music genres and how different styles enrich my love for music
I love how music connects me with people of different backgrounds
How the music of Linkin Park helped me through life's toughest challenges
What does my love for popular music say about me?
How the unique sounds of string instruments fuel my love for music
How music provides a temporary Release from the stresses of daily life
How music motivates me to chase my dreams
How the raw energy of rock music gets me through my daily life
Why my favorite song is more than just music to me

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Our expert team is quick to get you an A+ on all your assignments!

Music Therapy Essay Topics

One of the most interesting topics about music for an essay is music therapy. We are sure you have heard all the stories of how music cures not only mental but also physical pains. Below you can find a list of topics that will help you craft a compelling music therapy essay. And don't forget that you can always rely on our assistance for fulfilling your ' write my paper ' requests!

The effectiveness of music therapy in reducing stress and pain for cancer patients
Does pop music have the same effects on music therapy as classical music?
Exploring the benefits of music therapy with other genres beyond classical music
The potential of music therapy in aiding substance abuse treatment and recovery
The Role of music therapy in Addressing PTSD and Trauma in military veterans
The impact of music therapy on enhancing social interaction and emotional expression in individuals with developmental disabilities
The use of music therapy in managing chronic pain
Does musical therapy help depression?
Does music reduce anxiety levels?
Is music therapy better than traditional medicine?

History of Music Essay Topics

If you love analytical essays and prefer to see the bigger picture, you can always write a music description essay. Below you can find some of the most interesting topics for the history of music essay.

The Significance of natural instruments in music production and performance
Tracing the historical development of Western music theory
How electronic music traces its roots back to classical music
How the music industry evolved from sheet music to streaming services
How modern producers relate to classical composers
The Origins and Influence of Jazz Music
How folk music saved the Stories of unnamed heroes
Do we know what the music of ancient civilizations sounded like?
Where does your favorite bandstand in the line of music evolve?
The Influence of African American Music on modern pop culture

Benefits of Music Essay Topics

If you are someone who wonders what are some of the values that music brings to our daily life, you should write the benefits of music essay. The music essay titles below can inspire you to write a captivating essay:

How music can be used to promote cultural awareness and understanding
The benefits of music education in promoting creativity and innovation
The social benefits of participating in music groups
The Impact of Music on Memory and Learning
The cognitive benefits of music education in early childhood development
The effects of music on mood and behavior
How learning to play an instrument improves cognitive functions.
How music connects people distanced by thousands of miles
The benefits of listening to music while exercising
How music can express the feelings words fail to do so

Music Analysis Essay Example

Reading other people's papers is a great way to scale yours. There are many music essay examples, but the one crafted by our expert writers stands out in every possible way. You can learn what a great thesis statement looks like, how to write an engaging introduction, and what comprehensive body paragraphs should look like.

Click on the sample below to see the music analysis essay example.

How to Write a Music Essay with Steps

Writing music essays is definitely not rocket science, so don't be afraid. It's just like writing any other paper, and a music essay outline looks like any other essay structure.

Start by choosing a music essay topic. You can use our list above to get inspired. Choose a topic about music that feels more relevant and less researched so you can add brand-new insights. As we discussed, your music essay can be just about anything; it can be a concert report or an analytical paper about the evolution of music.
Continue by researching the topic. Gather all the relevant materials and information for your essay on music and start taking notes. You can use these notes as building blocks for the paper. Be prepared; even for short essays, you may need to read books and long articles.
Once you have all the necessary information, the ideas in your head will start to take shape. The next step is to develop a thesis statement out of all the ideas you have in your head. A thesis statement is a must as it informs readers what the entire music essay is about. Don't be afraid to be bold in your statement; new outlooks are always appreciated.
Next, you'll need a music essay introduction. Here you introduce the readers to the context and background information about the research topic. It should be clear, brief, and engaging. You should set the tone of your essay from the very beginning. Don't forget the introduction is where the thesis statement goes.
One of the most important parts of essay writing is crafting a central body paragraph about music. This is where you elaborate on your thesis, make main points, and support them with the evidence you gathered beforehand. Remember, your music essay should be well structured and depict a clear picture of your ideas.
Next, you will need to come up with an ideal closing paragraph. Here you will need to once again revisit the main points in your music essay, restate them in a logical manner and give the readers your final thoughts.
Don't forget to proofread your college essay. Whether you write a long or short essay on music, there will be grammatical and factual errors. Revise and look through your writing with a critical mind. You may find that some parts need rewriting.

Key Takeaways

Music essays are a pleasure to write and read. There are so many topics and themes to choose from, and if you follow our How to Write a Music Essay guide, you are guaranteed to craft a top-notch essay every time.

Be bold when selecting a subject even when unsure what is research essay topic on music, take the writing process easy, follow the academic standards, and you are good to go. Use our music essay sample to challenge yourself and write a professional paper.

If you feel stuck and have no time our team of expert writers is always ready to give you help from all subject ( medical school personal statement school help ). Visit our website, submit your ' write my research paper ' request and a guaranteed A+ essay will be on your way in just one click.

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FAQs on Writing a Music Essay

Though music essay writing is not the hardest job on the planet, there are still some questions that often pop up. Now that you have a writing guide and a list of essay topics about music, it's time to address the remaining inquiries. Keep reading to find the answers to the frequently asked questions.

Should Artists' Music be Used in Advertising?

What type of music is best for writing an essay, why do people love music.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

110 Music Essay Topics

Whether it’s for a fine arts course, a music appreciation class, or just a general assignment to build writing skills, music essays are an integral part of the musical education world.

Students are often assigned to write a music essay on a specific topic or one based on their interests. While it may seem overwhelming at first, writing music essays can actually be fun and rewarding.

The Fundamentals of Writing a Music Essay

Before a student can begin writing a music essay, there are a few key fundamentals to be aware of. These fundamentals will ensure that a paper is written to the student’s potential and will benefit them in their future musical studies.

Understand the Music

Listening to a piece of music and understanding a piece of music are two different things. While listening to music lets a student know what the piece is like, it does not necessarily allow them to understand the music’s more profound meaning.

This means that before writing a music essay, students must study their selected piece of music in depth. This might entail listening repeatedly or reading an analysis on the piece to gain a thorough comprehension. It could also mean researching the composer and their life to understand what effect their life might have had on the music.

Another option is to research the genre that the piece belongs to or even its historical context. Full knowledge of all these elements will ensure a deeper understanding of what is being listened to so that the writing is more profound.

Enhance Your Vocabulary

In music, there are specific words to describe sounds, aspects of the sound, and even emotions. Without an understanding of these words, a student will not be able to write a music essay to the highest degree possible.

Instead of saying the music is good or bad, students will need to expand their vocabulary to include more descriptive words such as :

These words allow a student to describe the music in much more depth than just ‘good’ or ‘bad.’ They provide readers with an idea of what is felt when listening and can better explain how the piece makes the writer feel.

Note that not only should you include these types of adjectives in your music essay, but also try to limit “big” or overused adjectives such as beautiful, stunning, amazing.

Know How to Cite

Often, to back up claims or provide context to musical analysis, it is essential to cite in the proper format so that a paper is academic and can be taken seriously. In a music essay, students will need to include proper citations that show where they got their information from after writing a quote or paraphrasing something said by someone else.

Citations are essential for another reason: they allow other people to investigate the source of your work for themselves to check its validity. Failure to cite sources and examples may diminish the credibility of the writing in the reader’s eyes.

When citing a lyric, be sure to include the songwriter’s name and the name of the piece. It is also important to remember to place a line break before and after the quote and use quotation marks for lyrics.

When citing a critique, be sure to include the author’s name and relevant background information such as their profession, where they got their degree from, and when their piece was published. It is then necessary to place a line break before and after the quote, italicize the author’s name, and include a page number if applicable to your citation.

The Different Types of Music Essay

A music essay can be written in a variety of formats or styles. Most commonly, a music essay will fall into one of three categories:

Musical Analysis

Musical analysis is a description of a piece of music. This usually includes describing the song’s mood, tempo, and melody as well as its historical context, genre, composer, and so forth.

Students may examine and critique the composition of a piece, or they might discuss the feelings that the music conveys. In short, a musical analysis should describe what is heard and explain to the reader how it made them feel.

Informative Essay

Students use their research skills to provide others with information about a certain topic in an informative essay. This can include an explanation of something musical such as the history of a genre, how it developed over time, and so forth.

Persuasive Essay

A persuasive essay is one in which students argue for or against something. For example, for music essays, students argue whether they believe that one piece of music is better than another or whether they prefer a specific style or genre.

This is an opportunity for students to make their voice heard by giving personal reasons for why something is good or bad and can be used to compare two distinct pieces of work through direct comparison or contrast.

With the fundamentals of writing a music essay above, students may still have trouble coming up with the right topic for their writing assignment. Fortunately, this list of 110 music essay topics is perfect for any writer level and is guaranteed to spark at least one idea for a music essay.

Music Essay Topics About Genre

Which music genre has had the most impact in modern times?
How have musical genres changed or developed over the past 100 years?
Which is musical genre is best for teaching an instrument?
Which is musical genre do you think has the most talent involved?
How has technology influenced musical genres over the past 50 years?
What musical genres are no longer seen in modern times?
Are there musical genres that shouldn’t be used in today’s society?
Are musical genres really all the same?
Compare and contrast two different musical genres?
How do musical genres influence each other?
What is the best way to discover the type of musical genre you like?
Which platforms are best for a particular type of musical genre?
Are music genres meant for certain audiences?
Which musical genres are the least biased by modern culture?
What makes a song belong to a particular genre?
Can a musical genre be broken down further than it already is?
How have technology and fashion influenced popular genres of music over time?
How has globalization impacted different musical genres?
Which style of music is the most popular in your country?
Which musical genres typically get the least respect from society?
What is the history of a particular musical genre?
Are there any specific songs that belong to a certain genre?
How have political issues influenced musical genres over time?
Is it harder to write a song in one musical genre or another?
Why do some people prefer one style or genre over another?
In what circumstances do you listen to particular types of music?
Which type of genre would be best for specific occasions?
What are the differences between modern and classical genres?

Music Essay Topics About Classical Music

What is the most significant piece of classical music?
How did certain pieces of classical music change over time?
Does one specific style better illustrate a particular piece of classical music?
How is musical structure important in modern-day classical pieces of work?
Why are certain classical pieces of work good to listen to when stressed out?
How does one piece of classical music compare to another?
What is the history behind a particular piece of classical work?
Which musical instruments are typically used in classical music?
Why is classical music better for different types of people?
Compare and contrast how two classical composers created their work?
What influenced a piece of significant classical music?
How do the notes in classical music differ from modern-day pop music?
What makes a piece of music classical?
Should classical music be learned before other types of music?
What developmental benefits does classical music have on newborns?
Who was Mozart, and why is he considered one of the most significant composers in history?
How does Western classical music differ from that in other countries?
Why was Beethoven’s work superior within its time period?
What makes Mozart different than other composers?
How can people improve their understanding of classical music?
How does the style and context influence the choice of musical instruments for specific pieces of classical music?
Why should children learn about classical music as part of their education?

Music Essay Topics About Music Theory

Which is more important to music: theory or practice?
How have new musical instruments influenced the theory behind music?
Are there any specific rules for using melodies and harmonies in music?
What are examples of non-traditional music theory?
Why do some people want to expand the boundaries of traditional music theory?
Are there any movements currently challenging traditional music theory?
Why is music theory important in modern-day music?
What are some types of modern-day musical compositions that ignore traditional music theory?
How have technological advances influenced traditional and non-traditional forms of music theory?
Which type of theory do you prefer: traditional or non-traditional?
What makes a piece of music sound like jazz?
What is the difference between musical form and music theory?
Which types of pieces best illustrate different theories in music?
What can non-traditional forms of music teach students about classical forms of music?
In what circumstances is music theory advanced?
What are some similarities between classical and modern-day musical compositions?
How has the Internet influenced traditional and non-traditional forms of music theory today?
Who was Leonard Bernstein, and how did he influence American society through his music theory contributions?
How do different cultures use a similar or different form of music theory?
Which is more difficult: playing music by ear or reading sheet music?
Which musical theory from the past is still valid in today’s society?
What are examples of outdated musical theories?

Music Essay Topics About Instruments

What instruments sound the best in music?
How do the instruments used in jazz differ from those used in rock and roll?
Is there a best way to play a specific instrument?
Why do orchestras typically use certain instruments?
Which instrument is most beneficial to the beginner musician learning to play music?
What are some types of non-traditional instruments used in musical compositions today?
Who were the first modern musicians to impact society through their use of new and different instruments?
What benefits do different types of instruments have on a musical composition?
What are some traditions followed when playing certain instruments in music?
What is the history behind unique musical instruments?
Who were the first people to experiment with new sounds on instruments with different tones and chords?
What’s the difference between playing with sound effects and using natural sounds?
How has technology influenced the use and creation of musical instruments today?
Which instruments should people learn to play first: traditional or non-traditional ones?
Compare and contrast the sounds of woodwind instruments to brass instruments.
Should percussion instruments be considered a type of classical music instrument or a type of pop music instrument?
What types of musical instruments are used in different types of foreign musical compositions?
How do people learn to play new instruments today?
How have old and modern musical instruments been combined to create unique sounds in songs?
What is the history behind musical instruments?
What are some traditional musical instruments still used today?
How can people make their own musical instruments at home with household items?
What was the first instrument ever invented?

Music Essay Topics About Singing

What is the difference between singing and vocalizing?
What is autotune, and how has it affected the music industry?
Is music with autotune better or worse than music without?
Should singers be allowed to use autotune in their performances?
What are the best types of vocal ranges for singers?
Who is famous for singing songs with wide vocal ranges?
Is it better to sing high or low notes in music today?
How do male and female singers compare with each other regarding their voices?
What are the different types of musical compositions that use vocals?
How do popular artists use vocalization in their songs?
Who was Kurt Cobain, and what did he do to change the face of music and singing?
Are there any negatives associated with using autotune in a song today?
Do all singers need to use autotune to sound better in their songs?
What are the five main parts that make up the human voice, and how do they work together to create singing?
How does pitch play a role in different types of music genres?

Using any of the 110 music essay topics listed above should provide the inspiration needed to write a great music essay.

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267 Music Essay Topics + Writing Guide [2024 Update]

Your mood leaves a lot to be desired. Everything around you is getting on your nerves. But still, there’s one thing that may save you: music. Just think of all the times you turned on your favorite song, and it lifted your spirits!

So, why not write about it in a music essay? In this article, you’ll find all the information necessary for this type of assignment:

267 brilliant music essay topics,
a sample paper,
a step-by-step guide and writing tips.

And don’t forget to bookmark  custom-writing.org  where you can find helpful essay tips in articles like this one.

🔝 Music Essay Topics: Top 10
🎵 Music Essay Definition
🎼 Essay Topics
✍️ How to Write
📑 Essay Sample

🔗 References

🔝 music essay topics: top 10 .

Compare different recording formats.
The purpose of music.
Ternary and rondo: compare and contrast.
Music as a lifestyle.
The benefits of singing.
Ethnomusicology as a career.
Evolution of the radio.
The importance of school musicals.
Music as a tool for meditation.
Music in sports.

🎵 Essays about Music: What Are They?

A music essay describes or analyzes a piece of music, its context, or one’s personal attitude towards it. This type of assignment requires a compelling primary argument and a clear structure.

To write well about music, you don’t have to be a professional musician. All you need is to be able to listen, understand, and evaluate it. You should also provide your interpretation and opinion on it.

Writing about Music: Assignment Types

An essay on music is a popular assignment in high school and college. However, many students find it hard to describe sounds in a written form. In this article, we will give you some tips on writing about music.

Here are the typical tasks that you might receive:

Concert report. It requires describing the music you’ve heard using as many details and terms as you can.
Historical analysis of a piece. Your aim is to describe the historical context of a piece or its relation to the historical setting. For this type of assignment, you may need to do some research.
Song analysis. In this type of essay, you explore song lyrics’ meaning and show how they work together with the melody.
Performance or media comparison. Here you need to compare several interpretations or performances of one piece of music.

The picture shows different tasks related to writing about music.

All of these assignments require a different approach and topic. You will find topics for these types of tasks below.

How to Choose a Music Essay Topic

First things first, you need to find a suitable music essay topic. To accomplish this task, you might want to take the following steps:

Analyze your relationship with music . What role does it play in your life? Your topic choice will be different if you are a musician or merely a listener.
Think about how music influences your everyday life . For instance, you can study how listening to music affects our mental health. Impressing your readers with some historical facts from the world of music is also a great idea.
Try reflecting on the role of different music genres in your life . Whether you prefer rap or classical music, exploring a genre is an excellent topic idea. Topics related to musical instruments are also worth attention.
Narrow your topic down. Otherwise, it will be too difficult to focus your essay on just one idea.

🎼 Music Essay Topics List

The first thing you need to do is to choose your topic. We have prepared a variety of music topics perfect for research papers and short essays. You can also use them for speeches or college application essays.

Argumentative Essay about Music: Topics & Ideas

Argumentative essays about music are usually concerned with a specific music-related issue you choose to address. Just like with any other argumentative essay, you should present both sides of the topic. Also, reliable facts are a must for this type of essay.

The influence of modern technologies on the music industry. Technologies allow artists to create and promote their songs independently. Because of this, record labels are less critical to musicians than before. However, the emergence of new technologies also gave rise to piracy. Do the positives outweigh the negatives?
What’s the effect of pop music on the modern generation? Today’s pop songs are usually commercial . Because of this, some people say that pop has ruined the current generations’ perception of music. Others argue that contemporary pop music expanded the possibilities of the genre.
Rock music makes people more aggressive. Some consider rock music merely an arrangement of aggressive tunes that foster violence. On the counter side, science has proven that people who prefer rock to other genres are calmer and more concentrated. Which position do you agree with?
Can people with hearing impairments become famous musicians? Many believe that access to fame and fortune is limited for disabled people. The deaf may seem especially unsuited for the music business . Yet, the examples of Beethoven, Neil Young, and Chris Martin show that hearing problems don’t have to be an issue.
Will streaming completely substitute physical copies? Digitalization is on its way to replacing LPs and CDs. For most people, it’s simply more convenient. But their opponents claim that an MP3 file can never sound as good as a physical copy.
Some music genres can be a catalyst for violence. While their beats may be calm, hip-hop and rap’s lyrics are often aggressive and brutal. Does it have adverse effects on a listener?
Can a person become addicted to music?
Censorship on the radio: why stations shouldn’t bleep out obscenities.
Is mandatory musical education in high schools practical?
The impact of Mozart’s music on toddlers.
Should a musician’s personal life affect people’s perception of their art?
How susceptible are teenagers to political messages in songs?
Music influences one’s mental and physical capabilities .
Are children who listen to music more intelligent than others?
Music genres are inherently dependent on musical instruments .
Is music as an art form more popular than cinema ?
Debate whether rap musicians promote a frivolous and careless lifestyle .
Many musicians became famous only because they’ve had connections.
Music festivals are the best form of entertainment.
Does music always sound better live than on records?
Is classical music better than modern genres?
Is it justified that some religions view music as a sin?
Typically, music defines a culture and its traditions: true or false?
Rap music has a strong connection to rebellious movements.
Jamaican music’s link to the stoner lifestyle is unjustified.
Synesthesia: how is music related to visuals?

Opinion on Music: Essay Topics

Opinion essays about music might seem similar to the argumentative type. Here, you are expected to write your personal opinion on a topic. Naturally, you can have many opinions on musical topics. Why not broadcast them? Keep in mind that you also need to provide reasons for your point of view.

Music therapy can help people with mental illnesses. It’s a well-known fact that music affects the human brain. This ability makes it perfect for treating mental health problems. On the one hand, psychologists established that listening to classical music increases one’s cognitive capacity . On the other hand, listening to heavy rock impacts responsiveness.
The questionable treatment of women in the music industry . While it may seem that both sexes are treated equally, women still earn much less than they deserve. Moreover, the extreme sexualization of girls persists as one of the most pressing problems in the industry.
Which musician or band impacted your worldview ? Discuss what makes your favorite artist special. Consider analyzing their lyrics, genre, and evolution. If you want to, add a review of one of their albums .
What are the challenges of being an independent artist? Typically, independent artists deal with all the financial, promotional, and distributional affairs by themselves. In the increasingly complex music business, this is not an easy task.
Is social media efficient for promotion? Almost every modern artist uses social media to promote their albums or songs. Users often check their networks for updates, which increases the musician’s visibility. But do such methods help in the long run?
Passion is the essential personal quality for every musician . If an artist is not eager to continually produce high-quality output, they’re unlikely to succeed. However, qualities such as responsibility, honesty, hard work, and creativity are also vital.
Is music good for stress relief?
How does music connect people ?
Analyze qualities that good musicians shouldn’t have.
Who are the most excellent musicians in the country genre ?
Is it possible to live without interacting with music ?
Choose three successful rappers and analyze their influence.
How can a musician become famous without having money or connections?
What are the difficulties of being in a band?
Who impacted the development of indie music the most?
Is pop music losing its popularity? If so, why?
Three factors that affected your choice of a favorite genre .
Which artists are the most prominent in power metal?
Which record label is the most influential now?
Can Justin Bieber’s songs be considered legendary?
Did Kanye West introduce a new kind of rap?
Which rock bands lost their fame because of a scandal ? How did it happen?
Discuss Dire Straits’ impact on music history .
Who are currently the most successful women pop singers ?
Why are some music genres more popular than others?
What does success in the music world depend on?

Topics for a Persuasive Essay about Music

Is there anything music-related you want to convince people of? A persuasive paper is your chance. Carefully craft your arguments to show your readers you’ve always been right about the beauty of cowbells. If it’s not your jam, consider these essay topics about music:

A seven-string guitar is superior to a six-string one. The additional string gives more room for creativity. It might be challenging to master, but in the end, the music has a fuller sound . Do you think it’s worth the effort?
The lyrics don’t matter as long as the melody is good. It’s possible to like songs from different countries, even if the listener doesn’t understand the language. The singing is simply part of the composition. Does this mean that what the vocalist says is unimportant?

The picture shows the information about the oldest surviving musical composition.

Most people living in big cities neglect country music. People from urban areas tend to think that country music is tasteless. For them, its tunes and lyrics sound too simple. Does the strong association with cowboys, farms, and long roads simply not appeal to the city lifestyle?
Should rap music be performed only by black people? The genre hosts a large portion of African American artists . Not only that, but black rappers are widely considered the best of their craft. Do white artists do the genre justice?
Music that artists make merely to get money is soulless. Passion is a critical factor for every musician. If money is the primary driver for creating a song, the result is inevitably flawed. Do you agree?
Pop music is undergoing a transformation. Listeners acknowledge pop as the primary genre of contemporary music . Yet, new musical instruments are changing the game. Even the lyrics touch on more serious topics than before.
Indie is the new pop. Indie music is a relatively novel genre. Still, it continues to gain popularity. The light-hearted tunes paired with existential lyrics have captured the audience’s hearts. Is it possible to envision the future of music without bands such as Coldplay, The 1975, and the Arctic Monkeys?
The meaning of freedom for jazz as a musical genre .
Punk rock has recently witnessed a renaissance.
Exposing plants to classical music makes them grow faster.
Classical music: intellectually stimulating or relaxing ?
Is it justified that some countries legally prohibit artists from performing?
Is it easier for children to learn with music?
Can a person ever become a great artist without a natural talent ?
Should workplaces allow their employees to listen to background music ?
Jimi Hendrix’s guitar skills are still unmatched.
The impact of pop music on European culture and trends.
Kurt Cobain’s death should have been a wake-up call for the music industry .
Why is music beneficial to society?
Nusrat Fateh Ali Khan’s legacy can be felt even today.
Nintendocore is a legitimate genre that the industry should take more seriously.
Should you listen to a bands’ music even if you disagree with their opinions ?
Musicians should receive more government support.
Patriotic songs make people feel passionate and energetic about their country.
Depressive and sad tunes can worsen a person’s mood.
Doctors and therapists need to understand the importance of music.

Music Evaluation Essay Topics

Do you want to know how to evaluate music? The point is to divide your overall impression into several parts. Music evaluation requires much attention and concentration, so try to do your best to stay focused while listening.

Use these criteria for evaluating music performances:

Now all you need to do is choose a topic and get down to writing!

Discuss the rise and fall of hardcore punk. Many bands that started in the hardcore punk scene softened their sound over time. Why did this genre disappear from the mainstream?
Copyright laws are going too far . It’s getting increasingly difficult to use somebody else’s intellectual property. Creators on YouTube have to fear lawsuits for creatively repurposing copyrighted music. Moreover, laws such as the DMCA are frequently abused to generate revenues.
More bands should use their influence for political purposes. Renowned artists have a broad reach. Bands like Rise Against or Anti Flag use this influence to raise political awareness among their fans. Is it a fair approach?
Borrowing and plagiarism in contemporary music . New artists don’t emerge without having listened to other musicians. They draw inspiration from their predecessors. Thus, songs are always a mix of already existing tracks. In your essay, discuss the difference between homage and plagiarism.
What are the similarities between poetry and song lyrics? Songs and poems are similar in that they deliver a message to the audience. Their creation demands extensive knowledge of rhyming, literary devices, and other components.
Why do some musicians ask others to write lyrics for them? It is a common practice to have a crew of songwriters who create texts for performers. Sometimes it happens due to a lack of imagination or inspiration. Does finding out that your favorite artist doesn’t write their lyrics destroy the magic of their music?
How can popular music diversify as a genre? Pop music reached its peak. Adding and borrowing elements from different genres can be one way to diversify a streamlined genre.
The history of music as political propaganda.
Explain the difference between high and low contemporary music culture .
How is contemporary music related to that from other periods?
What are the connections between pop music and the hip-hop genre?
What connects popular music and contemporary culture ?
How does music in the United States relate to Spanish music ?
Analyze the evolution of Indian music .
Discuss why certain albums manage to climb to the top of the charts.
The link between social classes and musical genres.
Differences and similarities of music and other art forms .
How does a musical instrument’s origin influence its development?
What is the role of traditional music today?

The picture shows a Victor Hugo quote about music.

What are the main processes in music production?
How is music theory relevant today?
Analyze which contemporary artists’ albums had an effect comparable to that of Queen’s A Night at the Opera .
Eurodance: Europe’s most extravagant genre.
Songs and everyday life of Michael Jackson vs. Madonna: who wins the ultimate pop crown?
What difficulties has Eminem faced throughout his career?
Over-ear headphones provide a better sound experience than on-ear ones.

Topics for an Expository Essay on Music

An expository essay explains or describes a subject. In the colorful world of music, topics can range from the physics of sound waves to artists’ social impact.

The importance of Blues music in the late 19 th century and now. Blues originated in the 19 th century American South. It was an outlet for African Americans to express their sorrows. Later, it exceeded by far the cultural boundaries that confined it.
The role of music in prison camps. Singing was an essential part of life in the Nazi concentration camps. One of the most well-known songs of that time is called Peat Bog Soldiers . In your expository essay, explore why prisoners started singing and how it developed.
How did Chester Bennington’s death impact the music industry? Linkin Park was a giant in the business for decades until depression made their lead singer take his own life. The event sparked debates surrounding mental health and pressure in the creative industry. What long-lasting effects did these discussions have?
How did Baroque music reflect the zeitgeist? Compared to the Renaissance period, Baroque was in all aspects very pompous. The artists of the Sun King’s time didn’t shy away from the extravaganza. This ideal is especially prominent in architecture. How does music fit into the picture?
Investigate the development of musical harmony. The Ancient Greeks already had an idea of some tones fitting together better than others. However, it wasn’t until the 1600s that tonality became a crucial part of music theory.
Music in commercials: an analysis. Songs and jingles are commonplace in TV commercials. But what are they good for? In your essay, you can compare the success of advertisements with and without music.
What causes music trends to change? It’s easy to define various eras of music . Naturally, the invention of new instruments has influenced this development. What other factors played a role in these transformations?
Why is 4/4 a universal beat?
Examine the origins of The Star-Spangled Banner .
The effects of dissonance on the human mind .
How do staccato, legato, and other forms of articulation influence the perception of a musical piece?
Discuss the significance of music in video games.
Music drives people’s motivation.
Explain the calming effects of nature sounds .
How does music influence literature?
Celtic music is known to have an extraordinary impact on the psyche. How does it work?
How does music impact the discharge of hormones such as dopamine?
Music therapy is suitable for those who have bipolar disorder.
What made Falco such a unique artist?
How does the perception of a silent film differ from that of a movie with sound?
A rock concert by Kansas: How the relevance of live concerts changed over time.
Is being able to read music important for a composer ?
How did Beethoven write music after losing his hearing?
Should all songs have proper rhythm and structure?
Why do so many indie artists become commercial?
Is it essential for song lyrics to rhyme?

History of Music: Essay Topics

If you’re interested in the evolution of music, you’ve come to the right section. Historical research reveals the significance of music throughout time. Unsurprisingly, songs and melodies have been part of human culture for centuries. Dive deeper into this exciting subject with one of the following ideas:

How did the Catholic Church influence music development in Europe? During the Middle Ages , religious movements had a significant impact on music. Consequently, composers used to create more sacred music. It became a way of personal expression since it often contained religious texts. 
The cultural meaning of Renaissance music and its influence on other styles . During the time of the Renaissance , sacred and secular music heavily impacted each other. As a result, more variety emerged. The chanson and madrigal, for example, became popular around Europe.
Research archaeological findings of early musicality. The search for the oldest musical instrument delivers thrilling insights. Archaeologists have excavated a flute made of ivory and bird bones, dating approximately 43,000 years ago. They found it in a cave in Germany where Neanderthals lived.
History of early music and appearance of musical instruments. The beginning of the human culture was the turning point of musical instruments’ appearance. They were primarily used for spiritual rites; typically, they were horns or drums for ceremonies.
Louis Armstrong’s contributions to the jazz world. Jazz originated in New Orleans and was a favorite among African Americans. Louis Armstrong’s improvisations forever changed the genre, making the soloist-improviser the center of the performance.
The phenomenon of pop music and its origins. Popular music dates back to the second half of the last century. It comes from the US and the UK. Its main peculiarity lies in the variety of tunes and lyrics .
Native American music before the discovery of the New World . Incas and Aztecs had particular styles of music. Findings show that these ancient civilizations used instruments for ceremonies. Researchers also discovered that various American cultures mingled, thus creating new techniques.
The use of string instruments in classical Greek songwriting.
Famous composers of 18th century Italy and their influence.
Mozart vs. Beethoven: comparison of techniques.
Deliver a thoughtful analysis of Beethoven’s Fifth Symphony .
What role do acoustic instruments play in jazz compositions?
Explore the history of the Ocarina.
Due to what circumstances did Wolfgang Amadeus Mozart become one of the greatest musical geniuses in history?
Influence of the Romantic period on modern music.
How and why were the swing era and jazz connected?
Rock and roll as an international language in the 20th century.
Explore the rise of techno music.
Is there a historical connection between music and math?
How did music become a staple subject in many schools?
The greatest musicians of World War I.
Industrialization and its effect on music development.
How did female producers such as Kate Bush impact the music industry?
Analyze Frédéric Chopin’s contribution to classical music .
Music evolution in ancient Greece vs. the Roman Empire.
How does archeology help to uncover musical traditions ?
Tupac’s influence on modern rap music .

Classification Essay about Music: Topic Ideas

In a classification essay, you explain how a whole relates to parts or vice versa. To do it, you need to divide one broad category into several subcategories. Each classification paragraph focuses on one subcategory, so you need to find a key feature that will be your basis of division. For example, you can divide music by genre, volume, musical instruments, etc.

Here is our list of musical topics for this essay type:

The most popular types of alternative music among teenagers. Naturally, teens like different kinds of rock and experimental music . Try to dig deeper and ask some teenagers about their preferences to get a clear picture.
Types of modern dance music . Describe the tendencies and popular genres. You can also focus on a specific country.
The most popular types of jazz music in Europe. Although jazz emerged in the United States, this genre became recognizable all over the world. You can analyze the most popular streamed songs, or the concerts and other mass events.
Rock music in the ’70s. You can describe the genres, styles, or types of performers. The concerts, clothes, and lifestyles are also suitable for this topic.
Blues musicians of different time periods. Analyze the lyrics, the musical instruments they used, and how long their careers lasted.
Classification of music for children . Some of it can be for dancing, development, or just listening. Research the purposes of different kinds of music for children.
Types of music used in films. The soundtrack is one of the main things we remember after watching a movie. There can be popular songs or tracks composed specifically for a film .
Rock bands that represent different subgenres.
Rap subgenres in the United States.
Periods of classical music.
What motivates people to start a musical career?
Different kinds of music for relaxation.
The industries where composers work .
Types of opera singers and instrumental music.
Different professions in the music industry.
Unpopular genres of independent music.
Different types of music listeners .

College Essay about Music: Topics

When you apply to your dream college, you need to write an impressive essay. Admissions officers pay attention not only to your grades and achievements but also to your personality. Your writing can indicate your motivation, academic interests, and how well you fit into the college. Writing an essay about “music in my life” is a great way to demonstrate your passion and creativity.

Choose one of these topics related to music for your college essay:

The role of music in your life . Describe what music means to you, how often you listen to it, and how it helps you in life. For example, you can write about inspiration, motivation, or the sense of freedom that it gives you.
What are the essential aspects of music for you? Try to write down everything you like about music. It might be melodies, lyrics, vocals, or mood. You can choose several aspects if you feel that you can’t decide.
The time when music changed your life. In this essay, you can pick one occurrence or describe how music changed your life gradually. It’s important to indicate where you started from and where it led you.
How do you see the future of the music industry? Demonstrate to the admissions officer how well you know the art and the business.
Your role model in the music industry. You may write about the qualities of the person you admire and why you want to develop them in yourself. Remember that admission officers want to read about you, not your idol.
How did your musical taste change over the last ten years? Describe the evolution of your preferences. Explain why you have changed some of your past choices. Do you think your musical taste has improved?
Your favorite musical genre .
Does listening to music help to heal body and spirit?
What is the best music performance you have ever seen?
Why do people become fans of particular musicians?
Your favorite song lyrics .
Can people be judged by their musical taste?
Why is music an essential part of human culture?
Quote about music that appeals to you the most.
How can music education help you in the future?
Do you prefer listening to music or performing it?
How can music change your mood?
Why you want to become a musician.
Which culture has the most beautiful ethnical music?
Is music more of an art or business?
What are the essential parts of musical education ?

✍️ Music Essay: How to Write

So, you have chosen your essay title. Now it’s time to start writing! But before you begin, read the sections below and learn how to organize your work.

How to Describe Music in Writing

You might think that writing about music is like dancing about architecture. Well, it is not an easy task, but we know how to cope with it.

Follow these tips while writing:

Make a comparison. Explain which characteristics of a piece remind you or are identical to those of another one. It’s better to avoid comparing music from different composers in this case. Instead, evaluate and analyze two musical pieces from the same composer.
Describe the melody and dynamics. You may want to use musical terms to show your knowledge and proficiency. Define the genre and what kind of instruments and tones are used.
Explain how it makes you feel. You can use basic human emotions to describe the feelings of a listener. For example, it can be anger, tenderness, irritation, excitement, or nostalgia.
Use metaphorical language. You may try using your imagination to create analogies. Be careful not to make your metaphors overcomplicated, as it may confuse the readers.

Essays about Music: Descriptive Words

Do you want your essay on music to be interesting and expressive? Then you may want to use descriptive vocabulary. Here are some of the terms that you can use in your essay to make it sound more professional:

Tempo is the “speed” of music. There are fixed expressions to define tempo—for example, largo, moderate, or presto. You can also describe how fast the music feels.
Timbre is the term that evaluates the “color” of music. Even if two instruments play the same note of the same volume, the sound is still different. This is how you can notice the color of the tone. For example, gentle, clear, heavy, or warm can be the adjectives to describe timbre.
Dynamics define the volume levels of music. The volume can be the same all the time, for example loud or soft. If the volume of music changes, you can use such expressions as “gradually gets louder” “or suddenly becomes soft.”
Harmony characterizes how all the notes and chords sound together. The sequence of chords—chord progression—defines how satisfying the melody is for the listener. For example, if the transitions are smooth, you can use such words as “relaxed” or “warm.”

Music Essay Outline

Like any other assignment, writing about music requires a proper essay outline that will guide you through the writing. The following sections will help you with that.

Before you start, here are some tips that will help you prepare for writing:

Do some prior research. Try to learn as much as possible about the piece you will be writing about. It’s also helpful to listen to the music several times with headphones to notice more details.
Don’t be afraid of asking questions. Consult your instructor if you’re unsure about your topic or the piece you have chosen.
Choose the topic that you like. If you’re passionate about a subject, it is always easier to write about it. Who said that homework could not be interesting?
Follow the recommendations that your instructor gives. It includes word limit, formatting style, deadline, and essay type.

Music Essay Introduction

The introduction is the section where you come up with a brief explanation of the topic. You may start it with a quotation, definition, or short statement that catches your reader’s attention and leads them to the essay subject.

A thesis statement is usually the last sentence of the introduction that defines the content of body paragraphs. It needs to be specific and not longer than two sentences. If you decide to shift the focus of your essay while writing, it’s crucial to change your thesis too.

Different types of essays require different thesis statements. Let’s take a closer look:

Music Essay Body

Your essay’s body is the most significant part of your writing. Here, you provide evidence and explanations of your claims.

The typical body paragraph structure includes:

A topic sentence explaining the argument for a particular paragraph.
An introduction to the evidence you gathered to support an argument.
Quotes and facts (don’t forget about proper citation!) and their explanation.
A connection between the evidence and the essay topic.
Paragraph transitions  leading your reader to the next section.

Topic Sentence about Music

Topic sentences can be used as a roadmap to writing your essay. Each body paragraph begins with a topic sentence that defines what the paragraph is about. It introduces the argument or main thought that will be explained. It’s also connected with the thesis statement.

It’s essential to make your thesis easy to understand, so it’s better not to overcomplicate it. For example, here’s an unsuccessful topic sentence with unnecessary words:

As stated above, the guitar is an essential musical instrument in rock music that defines how it sounds.

Instead, you can formulate it like this:

The guitar is the most iconic musical instrument in rock music that defines how it sounds.

Music Essay Conclusion

When writing a conclusion for your essay on music, you can use the following structure:

Summarize the text in a few sentences.
Review the key points of your paper.
Paraphrase the thesis.

To make your essay conclusion more effective, avoid the following:

📑 What Music Means to Me: Essay Example

Now you know all about writing an essay on music! To make it even easier for you, we’ve prepared an essay sample that you can use for inspiration. Check it out:

Now all you need is to turn the music on and get down to writing! We hope you liked this guide. If you did, don’t hesitate to share it with your friends.

✏️ Music Essay FAQ

Music is a vast topic. An essay might deal with anything ranging from trends in the 1950s to the best guitarists of all time. Writing an introduction to certain music styles or bands is also possible. In any case, the paper should be well-structured, logical, and cohesive.

Writing about music doesn’t necessarily require any specific skills. If you’re not familiar with the theory of music and can’t play musical instruments, you can just write about the music you like. Here are some topic ideas: favorite music band, style, or how you perceive music.

You can interpret music as a topic in various ways. If you are getting a degree in this field, you might want to write something more specific and technical. If your essay aims to merely inform and entertain, write about your favorite music style or band.

If you are writing an essay for school, a good choice would be an expository essay. It doesn’t require any specific knowledge of the music industry. Title suggestions might be: “My perception of music,” “My favorite band,” “How music can change the world.”

What is the Music Industry? Definition and Facts: Study.com
What Music Do You Write To?: Writers & Artists
A Music Review: British Council
Music: UNC Writing Center: University of North Carolina at Chapel Hill
Sound and Sense: Writing about Music: Colorado State University
Music analysis Research Papers: Academia.edu
The Power of Music Therapy: Belmont University
Musicology: Northwestern Bienen School of Music
Musicology: Areas of Study: Indiana State University
Music Facts: Facts.net
Music History from Primary Sources: Library of Congress
Music: Encyclopedia Britannica
A History of Classical Music: Part 1: The List
What Is Jazz: Smithsonian Institution
The 50 Greatest Composers of All Time: Classical Music
Musical Terms and Concepts: SUNY Potsdam
Ethnomusicology: University of Oxford
Music Research Process: Syracuse University
Journal of Popular Music Studies: University of California Press
The History of Pop Music in 5 Defining Decades: The Culture Trip
Music of the 20 th Century: Lumen Learning
Explainer: Indie Music: The Conversation
Your Brain on Music: University of Central Florida
Music and Health: Harvard University
The Psychological Function of Music Listening: NIH
Essays that Worked: Hamilton
Writing in Music: Writing Thesis Statements: The City University of New York
Academic Writing about Music: University of Denver
How to Write Song Lyrics: Berklee
Essay Introduction: University of Maryland
Tips and Examples for Writing Thesis Statements: Purdue University
Writing Body Paragraphs: Monash University
Some Tips for Writing Efficient, Effective Body Paragraphs: University of California, Berkeley
Writing a Paper: Conclusions: Walden University
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Thank you very much for this post on music essay writing! You don’t know how long I looked for the helpful information on writing music essays!

Music takes an important part in my life. I wake up and go to bed listening to music. And now when I’m writing my music essay, I also listen to music. And it’s also a pleasure to read an article on how to write an essay on music!

List of 50+ Music Extended Essay Topic Ideas

Table of contents

Writing Metier

You have requested it, and here you have it – our collection of IB Music extended essay topics. Here at Writing Metier , we’ve put together a playlist of themes and research questions that are sure to inspire your next academic composition.

From the intricate patterns of classical music to the pulsating beats of modern genres, each topic offers a unique opportunity to explore the vast universe of music.

Like with other articles related to extended essay topic suggestions , here is how I’ll structure the following list for your ease.

Harmonic Analysis of Classical Compositions

Rhythmic Structures in World Music

The Evolution of Musical Forms across Eras

The Influence of Historical Events on Music Development

Cross-Cultural Influences in Music

The Role of Music in Social Movements

The Impact of Performance Practice on Musical Interpretation

Comparative Analysis of Different Interpretations of a Single Work

The Role of the Conductor in Orchestral Music

The Evolution of Recording Technology and Its Impact on Music

Music Production Techniques in Contemporary Pop Music

The Role of Electronic Instruments in Modern Music

Teaching Methods in Music Education

The Impact of Music Education on Cognitive Development

Music Therapy and Its Effectiveness

The Development of Jazz from Its Origins to the Present

Influence of Blues on Contemporary Music Genres

Key Figures in the History of Jazz and Blues

Traditional Music Forms of a Specific Region or Culture

The Impact of Globalization on Indigenous Music

Fusion Music: Blending of Different Cultural Music Traditions

These aren’t just topics; they’re starting points for you to blend your musical passion with scholarly research.

So, let’s hit play on this exciting venture and find the rhythm for your Extended Essay.

Music Theory and Analysis

Welcome to the intricate world of Music Theory and Analysis. In this category, we’re like architects, building a foundation of understanding about the structures and patterns that make music so captivating.

From the harmonies of classical compositions to the rhythmic complexities of world music, we’re about to dissect what makes music tick.

Research Question: How do the harmonic progressions in Beethoven’s late string quartets reflect his innovative approach to classical composition?
Research Question: How does Chopin’s use of chromaticism in his nocturnes enhance the emotional depth and complexity of these pieces?
Research Question: How do polyrhythmic structures in traditional West African drumming create complex rhythmic patterns and what is their cultural significance?
Research Question: How have Indian rhythmic cycles (Talas) influenced the rhythmic structures in contemporary jazz compositions?
Research Question: How did the sonata form evolve in its structural and expressive aspects from the Classical to the Romantic era in Western music?
Research Question: How have the structural forms of Electronic Dance Music evolved since the 1980s, and what factors have influenced these changes?

As we move from the technicalities of music theory, we step into the vibrant landscape of Music History and Culture.

Music History and Culture

Here, music acts as a mirror, reflecting historical events and societal changes. We’ll explore how music has been both a product and a catalyst of cultural evolution, painting a picture of the world through sound.

Research Question: How did the fall of the Berlin Wall influence the themes and styles of German rock and pop music in the late 20th century?
Research Question: How did the Civil Rights Movement in the United States during the 1950s and 1960s influence the development of jazz music?
Research Question: How have African rhythms been integrated into Latin American music genres, and what has been their impact on the musical landscape?
Research Question: How has the incorporation of traditional Asian instruments influenced the sound and composition of Western contemporary music?
Research Question: How was music used as a tool for protest and social change during the Arab Spring movements?
Research Question: How has hip-hop music influenced and reflected the ideals and messages of the Black Lives Matter movement?

By the way, if you are searching for expert history essay writers , we can surely assist you. Next up is the realm of Music Performance and Interpretation.

Music Performance and Interpretation

Imagine stepping onto a stage where every note tells a story.

We’ll delve into the artistry behind musical performances, understanding how musicians bring scores to life and how conductors shape the sound of an orchestra.

Research Question: How do contemporary pianists incorporate Baroque performance practices in their interpretations of J.S. Bach’s keyboard works?
Research Question: How has the historically informed performance movement affected the interpretation of Mozart’s symphonies in modern orchestral performances?
Research Question: How do different conductors’ interpretations of Beethoven’s Symphony No. 5 vary in terms of tempo, dynamics, and phrasing?
Research Question: How do modern interpretations of Gershwin’s ‘Rhapsody in Blue’ differ from traditional interpretations in terms of stylistic elements and instrumentation?
Research Question: How do different conducting styles influence the performance outcomes of Romantic era symphonies?
Research Question: How does a conductor’s approach to leadership and communication shape the overall sound and performance quality of a contemporary orchestra?

Now, let’s switch our focus to Music Technology and Production.

Music Technology and Production

This is where creativity meets innovation. We’re going to explore how advancements in technology have transformed the way music is created and experienced, from recording studios to the rise of electronic music.

Research Question: How has the transition from analog to digital recording technologies impacted the sound quality and production values in music since the 1980s?
Research Question: How has the introduction of Auto-Tune technology changed vocal recording techniques and aesthetics in popular music?
Research Question: How have layering and sampling techniques influenced the sound and structure of contemporary pop music tracks?
Research Question: How have Digital Audio Workstations (DAWs) transformed the music production process in the pop music industry?
Research Question: How have synthesizers influenced the evolution of sound and composition in Electronic Dance Music (EDM) since the 1990s?
Research Question: How have electronic drum machines shaped the rhythmic and percussive elements in hip-hop music production?

Shifting our attention to Music Education and Pedagogy , we enter a world where music is not just heard but taught and learned.

Music Education and Pedagogy

It’s a space where we understand the impact of teaching methods on musical development and the profound effects of music on cognitive and emotional growth.

Research Question: How does the Suzuki Method influence musical skill development and enjoyment in children aged 4-8?
Research Question: How has the integration of technology in music education classrooms affected learning outcomes for high school students?
Research Question: How does participation in music education programs influence language development in elementary school children?
Research Question: To what extent does sustained musical training impact mathematical problem-solving skills in adolescents?
Research Question: How effective is music therapy in reducing symptoms of anxiety in adolescents with diagnosed anxiety disorders?
Research Question: How does music therapy contribute to the development of social skills in children diagnosed with Autism Spectrum Disorder?

Leaving the classroom behind, we immerse ourselves in the soul-stirring genres of Jazz and Blues.

Jazz and Blues

These styles are rich with history and emotion, offering a deep dive into the evolution of music that has shaped and been shaped by cultural and social dynamics.

Research Question: How has jazz evolved from the bebop era of the 1940s to the fusion styles of the 1970s, and what were the key influences in this evolution?
Research Question: How has the advent of digital technology in the late 20th and early 21st century affected the production, distribution, and reception of jazz music?
Research Question: How have traditional blues elements been incorporated and transformed in modern rock music since the 1960s?
Research Question: In what ways have blues music and its themes influenced contemporary hip-hop and R&B genres?
Research Question: How did Miles Davis’ musical innovations contribute to the evolution of jazz from the 1950s to the 1970s?
Research Question: How did B.B. King’s style and technique influence the development and popularization of electric blues music?

Lastly, we embrace the diverse and expansive field of World Music and Ethnomusicology.

World Music and Ethnomusicology

Here, we celebrate the global language of music, exploring traditional sounds from around the world and understanding how globalization has influenced local music traditions.

Research Question: How has Flamenco music evolved in contemporary Spain, and what efforts are being made to preserve its traditional elements?
Research Question: How does Gamelan music reflect and influence cultural and social aspects in Indonesia?
Research Question: How has globalization affected the traditional practices and transmission of African drumming?
Research Question: What are the challenges and strategies for preserving indigenous music traditions in the Amazon rainforest in the context of increasing globalization?
Research Question: How has Afrobeat emerged as a fusion genre, and what are its impacts on the global music scene?
Research Question: How have elements of Indian classical music been integrated into Western pop music, and what has been the reception of this fusion?

In this exploration of Music for your Extended Essay, we at Writing Metier are excited to assist you in weaving together your passion for music with academic research.

Select music extended essay topic and research question wisely

As we wrap up our list of Music Extended Essay topics, I’m reminded of the unique stories and perspectives each student brings to their work. Here at Writing Metier , we’ve seen essays transform into profound expressions of musical understanding and passion.

Whether you’re analyzing the evolution of a genre, the cultural impact of music, or the intricacies of musical technology, each topic is a window into a world of sound and meaning.

The Extended Essay is your stage to shine academically and express your enthusiasm for music. If you’re looking for a partner to help fine-tune your ideas or to bring clarity and depth to your writing, our extended essay writers team at Writing Metier is ready to assist. We’re here to support your journey from the first note to the final crescendo of your essay.

Reach out to us, and let’s collaborate to make your exploration of music not just an assignment but a masterpiece of insight and analysis that not only follows the word count but is written according to the latest updates in the IB criteria.

Free topic suggestions

Vasy kafidoff.

Vasyl Kafidoff is a co-founder and CEO at WritingMetier. He is interested in education and how modern technology makes it more accessible. He wants to bring awareness about new learning possibilities as an educational specialist. When Vasy is not working, he’s found behind a drum kit.

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Understanding Basic Music Theory

(25 reviews)

Catherine Schmidt-Jones

Publisher: OpenStax CNX

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Rika Uchida, Associate Professor of Piano and Theory, Drake University on 12/30/21

Comprehensiveness rating: 4 see less

The text covers various concepts in music theory, some of which are fundamental, and others are advanced and complex, such as form. Although it is written in user-friendly manner, I would like to have musical examples for most topics. For example, it would be difficult to introduce Rondo form without musical examples; verbal definition of form is simply insufficient, and students do not attain practical knowledge without reference to the music. In short, adding more musical examples and exercises would be beneficial.

Content Accuracy rating: 3

As other reviewers noted, there are numerous errors in musical examples. Notation and terminologies should be authentic, clear, and accurate.

Relevance/Longevity rating: 4

The text includes concepts that are not often found in most introductory music theory textbooks, such as sound wave, and standing waves in different instruments in Chapter 3 (Physical basics). It can be a useful online resource for those who are seeking for information or definition of particular topics.

Clarity rating: 4

The text is written in user-friendly manner and easy to follow. As stated above, definition of concepts with reference to more musical examples would be practical.

Consistency rating: 3

Some chapters cover concepts at advanced level (e.g., form) with oversimplification. Narrowing down to topics that are at basic level and presenting them comprehensively would make it more consistent.

Modularity rating: 4

Divisions and subdivisions are well organized for most part. I would categorize harmony and form in separate chapters (chapter 5), as this chapter seems incomplete.

Organization/Structure/Flow rating: 4

The text is well organized in most part, but topics can be organized in a better order. For example, definition (Chapter 2) can be placed as a glossary at the end of the text, and it can be in alphabetical order.

Interface rating: 5

The online interface is easy to navigate. The PDF version worked well for iPad and MacBook.

Grammatical Errors rating: 4

The text is written in user-friendly manner; however, some of the definitions are oversimplified and vaguely written.

Cultural Relevance rating: 4

The text covers music of diverse variety of styles and cultural backgrounds. Including standard repertoire as musical examples would be beneficial for some topics (e.g., form).

Balance among verbal definitions, musical examples and exercises could be improved. I would like to have more musical examples, and definition of concepts to be presented with reference to musical examples rather than verbal explanation. Implementation of more exercises would be helpful to use in music courses. I don't see application of Chapter 6.1, ear training in any music courses. Perhaps the author expects instructors to use another textbook for ear training, but the verbal description on this topic seems irrelevant and incomplete.

Reviewed by Derek Shapiro, Assistant Professor/Director of Bands, Virginia Tech on 12/13/21

Comprehensiveness rating: 5 see less

The text covers all areas of what one would consider basic music theory and is geared truly for the beginner who has had experience in reading music on some level, but desires more comprehensive descriptions of the "why". I especially liked the idea of the "Challenges" section at the end of the text which touched on some commonly found problems amateurs may find when dealing with music.

Content Accuracy rating: 5

I did not find any inaccurate material.

Relevance/Longevity rating: 5

The book does exactly as it postures itself to do, gives a fundamental explanation of the many aspects of basic music theory. It is slanted towards a western-classical music influence, which may find itself out of date in a few years time, depending on how musicological trends continue.

If I had any negative comment it would be the way things are laid out. The use of color is helpful but the presentation tends to be on the cluttered side. Admittedly, this is often the most difficult thing about a theory book as the layout needs doesn't conform to the way word processing software organizes content. Good use of both general and specific/real-world musical examples.

Consistency rating: 5

The book is consistent in style and layout. Once you understand the how the text is formatted it stays the same.

Modularity rating: 5

Well-laid out with a very clear table of contents.

Organization/Structure/Flow rating: 5

Anyone acquainted with a music theory text will understand how and why this book is laid out the way it is. This sticks to that formula which is progressive and scaffolds from the simple to the more complex.

Interface rating: 4

As I mentioned earlier, the layout is a little cluttered but it is more a victim of the way software works rather then the concept.

Grammatical Errors rating: 5

Did not find any errors.

Perfectly acceptable in terms of western music theory and the way it has been taught, but may find itself lacking as musicology trends to be more inclusive of cultures outside the western-classical tradition.

This is great resource for students looking for a text to help them refresh or broaden their skills.

Reviewed by Salil Sachdev, Professor, Bridgewater State University on 6/2/21

A good concise introduction to music fundamentals. The textbook contains chapters on various aspects of music, not all of which may be necessary for a basic music theory course. However, instructors have much to pick and choose from and adapt the material to their specific requirements. As well, the text serves as a springboard for learning beyond the introductory level.

Clarity rating: 5

Cultural Relevance rating: 5

The text is primarily on Western music theory.

Reviewed by Robert Wells, Assistant Professor of Music Theory; Director of Keyboard Studies, University of Mary Washington on 7/4/20

Given that this book is intended to be a fundamentals text (rather than a textbook for the entire music major theory sequence), it is fairly comprehensive. For the mathematically-based theory fundamentals course I teach, which is targeted to non-music majors, this is the perfect text, as it devotes equal attention to fundamentals and quantitative concerns such as tuning systems, interval ratios, and acoustics. Other topics that took this book well beyond the typical fundamentals text were introductory material about reading musical scores (repeat signs, dynamics, tempo markings, etc.), which are of great practical help if you plan to look at musical scores with your class; scales other than major and minor, such as whole-tone, pentatonic, modal, and jazz scales; and non-Western traditions, such as Hindustani music and Balinese gamelan. Additionally, there are links scattered throughout that go beyond the basic content (e.g., pages on tablature, transposing instruments, conducting, etc.). I also appreciated that the author does a good job of addressing common student questions such as, “What stem do I use for chords or groups of notes under the same beam?” or “Why would a composer choose 2/2 over 2/4?” For me, the biggest content omission is that there is no discussion of figured bass. This causes a bit of awkwardness in the chapter on harmonic analysis. For instance, in the analysis exercises in the Cadence section, inverted chords in the solution are labeled with root-position Roman numerals (i.e., no inversion figures). Additionally, if you are looking for part-writing training or post-tonal techniques, you will need to look elsewhere, as these topics are beyond the scope of this text.

Content Accuracy rating: 4

Most of the content is accurate, as far as I could tell. The most significant errors I found were in the section on chord additions/extensions. For instance, the author writes that labeling an added note as “sus” in a lead sheet symbol means it “replaces the chord tone immediately below it,” which is not true in the case of sus2. Moreover, in one of the charts, she labels a Cadd9 chord as “Csus9”. (To be fair, she does fix this label in the chart that follows.) Her explanation of Csus4 vs. C11 is also somewhat lacking, as she does not clarify that the latter has a chordal seventh while the former does not. Finally, in the section on Roman numerals, the author labels all chords very literally using Roman numerals where, in some cases, there should be labels in terms of applied chords/secondary dominants. Aside from these minor quibbles, I had few complaints, and I was impressed with all the physics and acoustics material, which was generally well handled. The bibliographic information scattered throughout also shows that the author has referenced a wide variety of scholarly musical sources in writing this text.

Relevance/Longevity rating: 3

In many ways, this book is very relevant to the needs of today’s musicians, as it is designed to serve as a starting point for musicians with widely ranging goals, from education to composition to performance. For instance, the author includes numerous activities with a music education bent, such as an activity to teach fractions to elementary-schoolers using musical rhythm, musical meter activities relevant to a wide variety of age groups (I used some of these for my college students), and an activity for children on the shape of a melody. There are also discussions of hands-on applications of music theory, such as methods for learning to improvise on one’s instrument and transposing music for a singer. My main complaints regarding relevance and longevity involve some outdated pedagogy and musical examples. In particular, I was bothered by the fact that this text exclusively teaches intervals using the half-step-counting method, which is now widely considered a sort of “last resort” for learning intervals. Inclusion of the white-note and scale methods for interval ID/construction would make this book much more in line with current pedagogy. Additionally, I was disappointed by the sparse musical examples, which are essential for helping students connect with the material. In many chapters, there are only one or two examples drawn from actual music, and when these appear, they are often somewhat dated (for instance, how many 21st-century students will be inspired by selections such as “And the Band Played On” or “The Girl I Left Behind”?). Perhaps this was due to copyright concerns, but it was an issue, nonetheless. On the plus side, the fact that this is an open music theory textbook gives it built-in longevity, as many of these complaints could be addressed in the future.

Overall, the text is very clear, and I have never received complaints from students about having to read the textbook. Sometimes there is a bit too much information, though, especially for beginners, as the author provides a lot of tangential material that may be overkill for a first fundamentals course. The weakest point, in terms of clarity, is probably scales/key signatures section, as key signatures are introduced way before scales/keys have been introduced. Major scales are then introduced several chapters later in terms of whole/half steps, but their relation to key signatures is treated cursorily. Relative minors are then introduced with respect to key signatures, which is confusing since we haven’t fully discussed key signatures yet. Moreover, there is an example of relative major/minor keys that references Eb being a “minor third higher than C,” but intervals haven’t been introduced at this point in the text. In the harmonic analysis section, there is no explanation of Roman numerals for seventh chords; the author simply begins using them. Finally, while there are good strategies for finding the key of a piece, there is no demonstration of harmonic analysis, which would have clarified the abstract suggestions. These points perhaps sound more critical than I intend, for by and large, the book is clearly and lucidly written.

Consistency rating: 4

The book seems to be mostly consistent, although the order of topics was sometimes illogical (see Organization/Structure/Flow below). When teaching with this book, I found myself having to jump around and assign readings out of order. However, the hyperlinks between different sections of the book are very helpful in preserving consistency between different parts of the text. The most concerning inconsistency was between the online and PDF/EPUB editions of the book, as chapter numbering and even some of the written material differs slightly. Thus, I had to be very explicit about which edition I was referring to when assigning readings.

The modularity factor is strong. In teaching using this text, I found it very easy to jump around between pitch/scale/harmony topics, rhythm/meter topics, and acoustics material. For instance, I was able to cover the first half of the rhythm/meter chapter early in the course, and came back to the latter, more advanced half of the chapter later in the course after introducing triads.

Organization/Structure/Flow rating: 3

Overall, a well-organized text, besides the aforementioned differences in organization between editions. However, topics are sometimes presented in a strange order. For instance, key signatures and the notion of major keys are introduced very early, before a scale has even been defined, as discussed above. While introducing the intuitive notion of key signatures this early was fine (i.e., a symbol that tells you which notes to play sharped or flatted throughout a piece), learning to identify the “key” was too abstract this early on (how can students understand what a key is if they don’t know what a scale is?). Relative minor keys are then introduced, making things even more abstract. Similarly, the notion of enharmonic keys/scales is introduced before the scale chapter. It also bothered me that enharmonic chords/intervals are introduced before students have any conception of what a chord/interval is. A careful instructor can get around these issues by simply skipping the confusing material and coming back to it later, but this does create some extra work for an instructor who wants to use this book.

Interface rating: 3

The online interface seemed to be the most user-friendly. The EPUB file worked well on my iPad, but had different chapter numbering from the online version (as previously noted). Many students liked the PDF version, as it could be used offline on just about any device, but hyperlinks in the PDF aren’t active. I ended up copying important links into our LMS when listing each day’s reading assignments, in case people were using the PDF/print version. I loved the links in the online and EPUB editions, which made the text very interactive. However, the audio for some examples included loud hissing or was very quiet, and some examples you have to directly download to hear. There were also broken links scattered throughout the text. I will say that the built-in exercises were helpful, but I ended up supplementing these with my own homework exercises.

I did not notice any grammatical errors, although there did seem to be a discrepancy between editions regarding “staffs” vs. “staves” in the first chapter.

The text references a wide variety of styles, including Western classical music, Indian classical music, Medieval music, popular music, and jazz. Hindustani music and Balinese gamelan music are discussed in some depth, which creates a more global perspective than most theory books exhibit. Additional musical examples, especially from the last few decades, could make the text even more culturally relevant, as most of the material is presented using out-of-context scales, chords, etc.

While not perfect, this textbook works very well as a completely free music theory text (and let’s face it—fundamentals texts can be very expensive). I would highly recommend it for a music theory for non-music majors course, as students won’t have to buy an expensive book they’ll never use again. Instructors should just be aware that the most effective use of this book is probably not in order, chapter by chapter, and the instructor will have to plan carefully before the semester begins to determine appropriate topics to include, omit, and reorder. Despite the book’s shortcomings, it is extremely valuable as one of the few open textbooks in music theory.

Reviewed by Matthew Svoboda, Music Instructor (Music Theory, Keyboard Skills, Choir), Lane Community College on 6/18/20

Comprehensiveness rating: 3 see less

This music theory concepts taught are roughly equivalent to those covered in Fall term of the three-term Music Theory course I teach at Lane Community College (LCC). I couldn't use this book for that course because it doesn't go into enough depth on subjects such as part writing, counterpoint, resolving chordal dissonances, etc., which I need to cover in the sequenced course I teach. That being said, I do think this would be a fine resource for a Music Fundamentals course. Also, there is some excellent information in chapter 7 on Ear Training, Tuning Systems, Modes and Ragas, and Transposition which far exceeds what is found in the textbook I currently use. This information is very valuable and I could see referring my students to it in the future.

Overall, I found the book to be accurate. However, I found the some information on intervals, sharps and flats, pentatonic scales, phrases, and the circle of fifths to be less than clear. Also, some of the musical examples presented for understanding meter were largely jazz-centric and not simple or straightforward enough for beginners or were classified incorrectly. I think this section could be improved by finding more straightforward listening examples that are more varied (not so often jazz centric.)

Generally speaking, the book's content is not obsolete. It seems that any improvements/updates could be done easily. One update that I think would be helpful would be to go beyond approaching interval identification by counting half steps so that students could learn to identify intervals without merely counting in this way.

The prose is clear and accessible. It does not rely heavily on overly "academic prose" and, for the most part, explains concepts clearly and sequentially.

I found the book to be internally consistent in terms of terminology and framework

The book is organized well and could be taught in smaller sections or modules.

The book is organized well and it is easy to navigate through various topics. I appreciate the searchable index, which I found very helpful.

I appreciated the links to musical examples, theory problems/solutions, and outside resources. Occasionally, some of the links presented in the book no longer opened as intended. These could be fixed in an update.

I did not find any grammatical errors in the book.

This book makes the point that a lot of the traditional music theory texts and terminology in use are Western/Euro centric. It does a nice job of introducing this point of critical thinking to students. While the Western/Euro centric approach is it's main focus, the the book does reference some other kinds of music/music traditions from around the world.

I appreciate this book and plan to use some of its contents in the future, particularly the material from Chapter 7: Ear Training, Tuning Systems, Modes and Ragas, and Transposition.

Reviewed by Craig LiaBraaten, Music Department, Mesabi Range College on 5/18/20

The text is "too complete" for a beginner level study of music theory. Much of the text can be deleted with no ill effect, for example Chapter 3 pp.95-116 and Chapter 6 pp. 218-258. read more

The text is "too complete" for a beginner level study of music theory. Much of the text can be deleted with no ill effect, for example Chapter 3 pp.95-116 and Chapter 6 pp. 218-258.

There are numerous errors and omissions, and other reviewers have correctly noticed a bias versus guitar players, where the author uses condescending tone on several occasions. Errors include listing the types of musical texture out of order: in order of complexity it should read 1. monophony 2. heterophony 3. homophony 4. polyphony. In addition, the definition of non-western music fails to recognize non-European styles in the western hemisphere. On p. 144 the statement "always classify the interval as it is written; the composer had a reason for writing it that way" is bad advice; rather this passage should read something like: "always use correct spelling for intervals, scales and triads."

All throughout the text, more current musical examples than art music of the 18th and 19th centuries should be cited to inspire and captivate the young reader. One other example, the content would be more relevant and interesting to beginner-level college students if the author emphasized references to topics such as "The Nashville System" and its impact on studio and recording musicians when discussing Roman Numerals.

Clarity rating: 3

The writing style is verbose - which frankly is not at all appealing to college-age students whose available time (due to work study and other commitments) is at a premium. The book should be edited and condensed by deleting and re-wording the superfluous language.

Consistency rating: 2

The text is consistently inconsistent. What is lacking is a glossary to tie the book together. The author made attempts at this (pp. 71-72, 83-86, 201-202, 209), but what is needed is to have an alphabetical listing (with cross-references) that includes every necessary term in the whole book.

Modularity rating: 3

The author has divided the chapters into sections, but the overall effect is too many words. Again lengthy explanations are unnecessary. Get to the point. Repeat the point. Move on.

The text should be re-organized into focused chapters of shorter length, each of which cover the single subject more concisely. A minimalist approach to writing style and a logical succession of chapter titles would help, instead of so many cross-references which usually take the reader hopping throughout the book. Sidebars with definitions can cut down this busywork.

Navigation problems include the references every chapter to citations in other chapters, which has the student leap frogging unnecessarily. Smart use of sidebars can minimize this interruption. The author does not need to "tie everything together".

The author's use of colloquial writing is an annoyance. The author is attempting a friendly discourse but it contradicts the lengthy verbose writing style everywhere else. While not technically grammatically in error, the end result is incongruent, wasting valuable time for any student (who may be working two jobs to help pay for their college textbooks).

When using foreign words and providing a pronunciation, make sure it is correct. For example: mezzo is not pronounced with a "t", but rather "MED-zo", using the thick Italian T which sounds to the American ear more like a D. Similarly fortissimo is not pronounced TISS as is suggested, but "for-TEE-see-moh". This may well offend any serious student of Latin or Italian.

Page 7 the author mentions Bass and Treble clef, but nowhere mentions F-clef or G-clef. Pages 13-14 are a good start; author needs to elaborate. Page 23 regarding the term "enharmonic" the author missed the opportunity to discuss CORRECT SPELLING with regard to intervals and scales (and later on, with triads). Page 29 author states: "may connect the notes that are all in the same beat" instead of teaching the student the correct approach is to "beam the beats". Page 42 missed the chance to discuss "anacrusis". Page 51 missed the definition of "rubato" as "steal time". Page 59 missed clear definitions of Legato (notes long and connected), Staccato (notes short and separated), and in between Portato (notes long but separated). Page 79 the quotation from the "Chorale" symphony contains an error at the end of line 3; the "E" is syncopated and tied to the next measure in the double bass solo. Page 128 missed the chance to teach that major scales are built from two identical TETRACHORDS separated by a half step. Page 153 the Circle of 5ths Ascends to the Right and Descends to the Left (it is an error to call the flat keys the "circle of 4ths"). Page 156 missed the chance to teach the Greek word "chromos" - meaning "all colors" - as the basis for "Chromatic Scale". Page 157 did not discuss "anhematonic pentatonic scale" - by definition, a five-note scale that has NO half-steps. P. 179 missed the opportunity to teach that, in a major and minor triad, it's the BOTTOM 3rd that names the triad. Fun reading. Best wishes.

Reviewed by Juliana Han, Assistant Professor, Augustana College on 6/26/19

This book is intended to cover the "bare essentials" of music theory, such as those covered in a fundamentals or prerequisite course at a high school or college level. The index includes the necessary topics at that level. However, the text emphasizes definitions and explanations, rather than exercises and examples, which makes it an insufficient text for the beginner learner.

The content is carefully written. However, in an attempt to be conversational and accessible, the author writes in oversimplifications that border on the inaccurate or misleading. Examples of this can be found in chapter 3.8 (Classifying Music), which defines entire eras of music or fields of musicological study (e.g., Western, non-Western, world music, classical music) with unwarranted certitude. I would not recommend anyone utilize this chapter.

Because it covers the most basic concepts, there is no issue with content becoming obsolete.

The book's strength is its conversational, accessible writing style. It is also clearly organized, and terms are highlighted and defined. In the online version of the text, hyperlinked terms make finding definitions easy.

The book is internally consistent in terms of terminology and framework.

Because of the clear division and subdivision of topics in the book's index, it is easy to identify modules relevant to a particular topic.

The book is organized clearly into topics and subtopics. The exception is Chapter 3 (Definitions), which only has one subheading each for such substantial topics as harmony and counterpoint. Even given that this is a basic text, more space could have been devoted to these topics, at the expense of others (e.g., tuning systems) that are not as useful for the beginning musician.

The online interface, hosted on the OpenStax CNX network, works fine.

The book is carefully edited.

Cultural Relevance rating: 2

In attempting to be basic and brief, the book does a disservice to the topic of music in non-Western cultures. For instance, the author states in Chapter 3.8 (Classifying Music): "The only easy-to-find items in [the non-Western classical] category are Indian Classical music, for example the performances of Ravi Shankar." This statement is unnecessarily definitive and narrow; the author could instead suggest recommendations and further reading in a less opinionated way. Another statement that generalizes to the point of misrepresentation is this statement: "If you live in a Western culture, it can be difficult to find recordings of non-Western folk music, since most Western listeners do not have a taste for it." Perhaps omitting this topic altogether would strengthen the credibility of this book, since it is often covered in history or other survey courses.

The author should be commended in attempting to create a very readable, organized, and accessible text to introduce new musicians to the most important topics. However, while some content may be useful as background reading at the most basic level, the book does not lend itself to use within a course. The language used is too general to be used in an academic setting, and the lack of exercises, exhibits, and musical examples leave the reader with little path to true comprehension or mastery of music theory skills. Perhaps the largest reason this book is unsuitable for use in a course is that its focus is misaligned to most music theory sequences. The book spends significant space on topics in the scientific basis of music, such as tuning systems, the physical basis of sound, and mathematical derivations. While these topics may be germane to the author's personal interests and training, they are not very important in the early stages of study for applied musicians such as those the author lists on the very first page of her book: "[a] trumpet player interested in jazz, a vocalist interested in early music, a pianist interested in classical composition, and a guitarist interested in world music ." Surely, a deeper look at harmony and counterpoint would be more useful. Overall, this text may be most useful simply as a glossary for definitions of musical terms.

Reviewed by Christopher Cook, Lecturer in Music, Oakland City University on 1/10/19

This book does include an index of terms, which can be quite helpful. It doesn't quite cover as much as is normally covered in a single text for music theory instruction in many college courses. Some topics are discussed well enough, while others leave or gloss over standard sections. In other cases, the author chooses topics either adjacent to or nearly unrelated to standard music theory texts. i.e. music physics

The notation section, as others have reviewed, is considerably longer than any other theory text I have read. Indeed, I thought everyone was overstating the issue a bit until I checked it for myself. Far too long, with portions that could have been incorporated into other chapters in the book with ease.

The book is quite accurate. The information provided seems well researched and factual.

Considering the topic, most of the elements in a music theory text will remain relevant for a long period of time. Some texts include examples of music that are very current, but do not become irrelevant for those current examples. This book does a fine job of showing information that seems well researched with recent studies and long-established theory techniques.

I found the majority of the text very easy to understand, with exceptions during the physics chapter where a few of the sections were a bit unclear. Considering the content of this text and that it is intended as an introductory source for beginning students, I believe complete clarity should be the goal.

The terms and concepts presented in this text are consistent throughout.

While sections of this text could be subdivided for use in coursework, substantial page lengths on the very first chapter, along with the nearly as lengthy second chapter, cause this to rate lower. Those first two chapters are so long I know my students would despair any reading assignment solely on the basis of length.

As stated earlier, the definitions and terms presented in Chapter 2 could easily have been and should perhaps have been pieced out to different chapters covering those topics. I do not see a purpose why they should all be grouped together. Additionally, the break between learning about notation to then wait for two more chapters to learn about Notes and Scales seems illogical in the extreme.

No noticeable defects in the interface. Navigation would benefit from links to jump to chapters, but otherwise no issues.

I did not notice any grammatical errors.

The text is not culturally insensitive in any way, but does lack inclusion of non-Western music techniques. Considering some of the side topics presented in the text, inclusion of non-Western music would not be unfeasible to include.

Reviewed by Sarah Muehlbauer, Doctoral Student/Teaching Assistant, James Madison University on 11/17/18

Comprehensiveness rating: 2 see less

I thought that this textbook covered too much for a music appreciation/intro to music theory non-music major course if the students had little to no background whatsoever in music reading, but far too little for any music major music theory sequence. For a music major, it would not be able to be used beyond the first semester of the music theory sequence and much of the first 90 pages would likely be skipped by music majors who already know how to read music, and typically schools adopt a textbook set that covers 3-5 semesters of music theory in the music major theory sequence. The textbook spends so much time on notation (60 pages) plus “definitions” (another 30+ pages), so 90+ pages is spent on introductory material, which would really only be helpful for someone who is just now learning to read music, so I cannot really see this effectively being used. A music major fundamentals course (prior to Theory I) would not need quite that much on notation, but too detailed for a non-music major music appreciation course.

This book goes on to spend a significant amount of time on tuning, harmonic series and acoustics, which would most likely be overwhelming to a non-music major. These topics are not always even included in standard music theory textbooks for music majors, or if they are, it does not have much time spent on it. Those topics are generally pretty confusing to freshmen/sophomores, even for music majors and I would not call them “basic” music theory, unless just introducing them in a few paragraphs, but this book spends half/full chapters/long sections on those topics.

For a music major theory sequence, it is missing a ton of expected topics (voice leading, part writing, secondary/applied chords, modal mixture, phrase model tonic-predominant-dominant progression, figured bass, non-chord tones, far too little on Roman numbers/analysis, modulation only gets a paragraph, sequences, an introduction to 20th century theoretical analysis and other topics, etc.), so it would not be usable for that. This book takes 136 pages in until it even gets to talking about intervals!

The book, however, does include a lot of definitions throughout the text, but at times can be overwhelming with just pages and pages of definitions without examples—just text, like a research paper.

The text includes a decently well detailed index at the end but no glossary.

It has links to an online website with more information, which is a good idea.

Overall, for the topics it chooses to present (although it lacks many topics or spends too much/too little time on many), it is mostly accurate as far as I could tell, but did find a handful of errors in my look-through of the book. My guess is there is more if you read it word for word. While I’m sure I missed some, here are the errors I found: • Double flat symbol is inaccurate- the two flats are on top of each other, rather than right beside each other (pg. 18) • Enharmonic scale example is technically “accurate,” but very poor in truly explaining it—uses E-flat major and D-sharp major scale as its example of enharmonic scales—do we really ever use D-sharp major, a scale with F-double sharp? Why not use a “real” example, such as G-flat and F-sharp major as an enharmonic scale? That would be much less confusing to someone reading this for the first time (pg. 24) • The meter/beats section (with duple simple, duple triple, etc. meters) ignores divisions of the beat—should have a chart for this, which is much clearer in other theory texts I’ve seen (pg. 37). • The suggested list of pieces to listen to for texture examples is not bad, and somewhat useful, but not the best examples for a student first learning about this—this could be easily improved (pg. 82). • Octaves- labels them as C1, C2, etc. on a piano which is correct, but then says, “many musicians use Helmholtz notation” system of “CC, C, c, c1, cii,…” (pg. 119-120) and is not a basic understanding of this • Scale degrees are simply listed as numbers under the scale (“1, 2, 3,…”) instead of with the little carrot-type symbol above them to indicate that they are a scale degree and not just a number (pg. 190) • Chord labeling (pg. 198)—ignores mentioning secondary dominants, and chose poor examples for Roman numeral chord analysis in a traditional textbook sense)

I don’t see relevance as a huge issue with a music theory textbook presenting “basic” or standard concepts. These don’t really change. If it was a textbook on 21st century or more modern music, that may be more of an issue.

The textbook is generally pretty clear in its explanations, although a bit wordy at times. It has long paragraphs of text sometimes without having any examples or anything to break up the textual information. It does explain all terminology/vocabulary words and has all of them bolded, which I found helpful. It seemed very definitions-based.

While there are other issues with this textbook, it is very consistent in its formatting. Terms are bolded, examples contain red and blue color highlighter, and sections are organized with headings. I found the “section citations” useful to go back if you need to, which I would say is incredibly helpful to a student rather than flipping through fretting when you forget something and going “now where was that information on inverting intervals again?” (i.e.: within the text for a particular topic when it references a formerly discussed topic, it puts “Section 1.2.3” in parentheses if you need to go back and review that information; it has basically in-text citations of topics rather than having to look at the index for a previously discussed topic).

Although the formatting is consistent with colors and all, I found it to be literally very “black and white,” and it could use some color or graphics to spice it up and keep a student interested.

Modularity rating: 2

The text is divided into a copious amount of sections within a chapter. That said, I think it would benefit from a greater number of chapters and lower number of divisions within each chapter. There are only 6 chapters within 270+ pages, which creates lengthy chapters. They are divided into very small sections, but the large number of divisions within a long chapter creates confusion when you have headings like 1.1, then 1.1.1, 1.1.1.1, 1.2, 1.3.1.2, 1.5.2.3, etc. (you get the idea)—too many decimal points for these mini-sections.

Organization/Structure/Flow rating: 2

Besides comprehensiveness or usefulness in a music major theory vs. non-major course, organization is the biggest drawback with this textbook.

60 pages on music notation….and another 30 pages on “definitions.” Harmony, form, cadences, and analysis together only comprise about 40 pages, and notes, scales, half/whole steps, and intervals together only get about 40 pages. I don’t understand this division of pages, unless you’re intending it for someone who does not read music, but then (as mentioned in “Comprehensiveness”) it would be too detailed in the latter sections on tuning, acoustics, and harmonic series for someone just learning to read music in the same semester. Acoustics is put before chords and scales, which I don’t think is needed first for a beginner. It will likely confuse them.

The book is more than half way through before it mentions key signatures and circle of 5ths. Acoustics and harmonic series are discussed before intervals and key signatures in a “basic” book. It has very long chapters (40-70 pages) with a copious number of subheadings rather than shorter chapters and less confusing subheadings (see “Modularity” comments). More of this supposedly “basic” book is devoted to acoustics, tuning, temperament, and harmonic series than to chords, intervals, harmony, and form. Form only gets about 6 pages. Scales are all mushed together, including pentatonic, 12 tone, whole tone, etc. with the more basic major and minor scales. The book is 175 pages in before harmony and triads are discussed (in other standard theory texts, I’ve seen this be about 30-80 pages in, for comparison). Transposition isn’t discussed until the very end, and the first suggestion is to “avoid it” if possible (pg. 242), yet transposition is mentioned in passing (pg. 157) before it is discussed later. Modulation only gets 2 paragraphs. Roman numerals are not thoroughly explained to do harmonic analysis if you did not already know this. Counterpoint only gets a short paragraph. Cadences are only very basically explained.

Ear Training is at the end and is not a thorough enough explanation to begin to learn that.

Some of this was mentioned in “Comprehensiveness,” but, in regarding use for a music major: the book’s organization lacks information on voice leading, part writing, figured bass, non-chord tones, chromatic chords/altered/applied chords (secondary dominants & secondary leading tones), modal mixture, phrase model (tonic-predominant-dominant phrase analysis), sequences, or an introduction to 20th century theoretical analysis.

I did not find errors or distortion of images/charts. My main issue with its presentation was the section headings and all the decimal points (under “Modularity”). I did not find the book’s text to be crammed in and was decently well spaced out on the page to read. However, I would appreciate greater variety of examples to keep the reader from getting bored. It does not have much other than examples with the picture of a keyboard or staff lines. I would also like to see something other than black text with red/blue text on examples to read, which are the prevailing colors and seems very much like a research paper to read since it has no color backgrounds or anything else to look at (very little else, maybe 2-3 pages had something else). Other pictures, graphics, charts, colors, text backgrounds, etc. would be useful to aid in understanding and keep a student more interested in reading.

I found it to be relatively free of errors. I have found wording/grammatical errors in expensive printed textbooks before, so I could forgive a few minor errors if the text is otherwise readable. This text seemed pretty good in that regard, other than some minor issues regarding word order or lacking spaces between some words, but you can understand it without significant problems. Some of the text/long paragraphs could be cut down, however.

I found no issues with this. (Similar to “relevance,” I don’t think cultural issues are a big issue in music theory textbooks, unless it had inaccurate examples for ethnic music/techniques.)

I found “Understanding Basic Music Theory” by Catherine Schmidt-Jones to be an average textbook. It does average or above in regard to accuracy of content, relevance, clarity, consistency, grammar, and cultural issues, but I found moderate problems with interface and modularity and discovered significant problems to be in regard to comprehensiveness/intended audience and organization. My review and opinions are based on what I know of standard music theory textbooks, which come from my own undergraduate theory courses, graduate level work in the pedagogy of music theory, and my own teaching as a DMA student.

I liked the worksheets at the ends of chapters to give the student a “trial run” on the topics, but again would prefer a greater number of chapters that are shorter compared to fewer chapters that are super long, and then insert mini worksheets at the ends of each chapter, or within a chapter.

At this point, I still see a value in purchasing a traditional textbook, if I am comparing this with many of the well-known, standard theory textbooks that I have looked at before.

Reviewed by Jacob Lee, Adjunct Professor, Southern Utah University on 6/19/18

For a book on basic music theory, this textbook is quite (if not excessively) comprehensive, covering much of what should or could be covered in a Theory Fundamentals or Remedial Theory course. read more

For a book on basic music theory, this textbook is quite (if not excessively) comprehensive, covering much of what should or could be covered in a Theory Fundamentals or Remedial Theory course.

The text approaches music theory from a physical (sound waves, overtones, and other physical science) and world perspective (attempting to integrate aspects of jazz and non-western music with typical western music theory). The content appears to be mostly error-free with a few exceptions that I found:

- Minor grammatical issues: nothing too serious. My favorite example, though was on pp. 28: "If a note does not have head...". - Theoretical disagreements that might be addressed: pp. 37: in Figure 1.53 the text says "how many downbeats in a measure". For consistency, the author could use what they wrote in Figure 1.55: "Beginning of beat". The argument that there are 4 downbeats in a 4/4 measure is misleading - there should be one downbeat per measure, the other beats being "weaker". Perhaps the author could say: "How many beats in a measure". Some small mention of hypermeter might do well here.

By involving non-Western music, jazz, and popular music alongside Western classical music, the text provides a resource that is relevant in modern society at large. Updates undoubtedly will need to occur as time goes on, but any relevant music theory book will have to do so.

Clarity rating: 2

Although the text often provides succinct definitions for musical terms, it does tend to be somewhat on the verbose side. With music being a somewhat difficult subject to capture verbally, I would have appreciated more visual and audio examples.

The formatting of the text could be improved so that it is more clear what is to be gained by reading the text (ie more use of bold and/or italic text; summary sections at the beginning or end of chapters; short definitions of vocabulary in the margins).

The text's framework and terminology is mostly consistent (see "accuracy" section for an example where the book is somewhat inconsistent).

The text, although at times quite wordy, are divided into units that could easily be addressed (perhaps at times with some pre-assigned reading) within a typical class period.

The flow of this text is where I take the most issue. Beginning with the chapter on notation requires the reader to look ahead from nearly every section in the chapter to fully understand each concept. Some examples: the section on sharps/flats (1.1.3) is addressed well before the section on half steps/whole steps (4.2); Enharmonic intervals and chords (1.1.5.3) is addressed before chords and intervals (4.5).

I understand with the larger organization of the text why these topics are not put close together, however, I would advise shifting chapters or sections around to avoid constantly flipping ahead in the book. It might be nice to move the chapter on definitions or the chapter on physical science to the beginning. In any case, the sections on tone and rhythm should occur before the sections on notation.

Interface rating: 2

Several of the hyperlinks are ineffective. On the positive side, the images are all free of distortion.

There are a few grammatical errors (see "Accuracy"). They are mostly minor issues that would not greatly distract from the subject at hand.

This is a huge bonus for this text. It makes a point to cover aspects of music involving jazz and popular music topics such as chord symbols, upper extensions, and swing, as well as world music topics such as exotic scales and ragas. Although based in Western theory, the text involves plenty of non-Western musical approaches.

This text would be ideal for a theory fundamentals or remedial theory course - especially if there is minimal teacher interaction available. Although at times the text diverges to topics arguably more advanced than basic (ie altered chords), with guided reading the student could fill gaps in their musical knowledge that would better prepare them for a collegiate music education.

One additional suggestion would be to have even more exercises available at the end of each section.

Reviewed by Keith Bradshaw, Associate Dean, College of Performing and Visual Arts, Southern Utah University on 6/19/18

The text is fairly comprehensive, a bit too comprehensive for a music fundamentals class. Sections of the book go a little too much in depth for a beginning music theory student with no experience. The index is useful and thorough. read more

The materials presented are accurate and presented well, though the sequence of materials is perhaps different than other similar texts. Explanations are sometimes too in depth and others too shallow.

The text is current and is not likely to lose its relevance. The elements of music are fairly constant, though teaching styles may vary. Updates should be simple to make.

The writing is accessible and reads well. At times, the explanations are too lengthy for a beginning fundamentals text and cover elements that are for more advanced study.

Consistency is appropriate for the subject. Terms and explanations are constant throughout the text.

The text is easily divisible into smaller sections. Instructors should be able to tailor the content to fit their desired teaching style and delivery method.

The flow can be a bit awkward at times, mentioning terms and concepts before an explanation has been provided. The text seems to wander as it covers a bit too much material for a fundamentals course.

I found no interface problems with the text.

The language of the text is appropriate and grammar is correct.

The text discusses western music and is not meant to be all-inclusive culturally. I discern nothing offensive in the text.

Though the text may be a bit too comprehensive, it can be a valuable resource for OER users.

Reviewed by Jason Heald, Associate Professor, Umpqua Community College on 6/19/18

This textbook is very comprehensive in the range of subjects it covers. In an effort to "cover all the bases", some of the most crucial skills necessary for understanding music theory receive relatively superficial treatment, while topics with less immediate application are covered in great detail. For example, one might question whether a student with no musical background could successfully learn to read music notation given the brief explanations and limited exercises presented in the opening chapter, and one might also be skeptical of the usefulness of such a detailed explanation of the physics of sound to the beginning musician. That said, the topics covered in the textbook represents a broad base of knowledge.

The book is generally quite accurate with occasional lapses. For example, on page 198, labeling a V7/vi as a III7 and a V7/IV as a I7 is incorrect, and is likely to cause confusion for the student when they study secondary dominants. It would be best if all musical examples could be explained accurately with the information presented in the textbook.

It is not likely that the subject matter will become out-dated, so this textbook should remain relevant for a long period of time. Supplementing the text with new information should be easy to incorporate.

The book is clear and well-written. Again, for the non-musician, the compressed presentation of some topics, e.g., notation, might be difficult to understand and quite daunting.

The book seems consistent in its use of language and accurate in its terminology.

One of the strengths of this book might be its modularity. Chapters are relatively self-contained and could be used to supplement other textbooks or course materials.

The organization of this textbook is somewhat baffling and, perhaps, its weakest attribute. For instance, it is perplexing that the concept of key signatures is introduced in the first 20 pages, yet intervals and the circle of fifths are not discussed until the second half of the book. if the topics were to be taught in the order presented in the book, instructors might find this book very difficult to use.

The textbook has rather primitive-looking graphics and notational examples. But it doesn't detract from the overall effectiveness of the textbook.

The text appears to have no grammatical errors.

The book is grounded in Western European tradition, but makes some effort to be culturally inclusive. Its language is in no way culturally insensitive.

This textbook is very intriguing and well-written. However, I would find it difficult to use as a primary textbook for either music majors or non-majors. It lacks the necessary depth in subjects like figured bass and harmonic analysis for music majors, and it covers too much ground for a music appreciation or music fundamentals classes. However, it might be an excellent supplemental textbook for all three of the prior courses and a host of other music classes.

Reviewed by Scott Ethier, Adjunct Lecturer, LaGuardia Community College, CUNY on 2/1/18

In some ways, this book is very comprehensive – maybe too comprehensive (do we really need 4000 words on tuning systems in an introductory text?). But it does cover all of the topics you could expect to get through in an introductory theory... read more

In other ways, it’s missing some vital components. So much of introductory music theory is about mastering skills like reading music and building scales and chords. There are some exercises in this book, but there is no attempt at bridging the gap between the concepts being discussed and their practical application.

I found to book to be accurate throughout.

The core content of the book (such as notation, scales, and chords) is well-traveled ground. 80% of the material is identical to what a music student would have learned a century ago, and unless the priorities of music theory pedagogy change radically, it will be relevant for the foreseeable future.

What feels out of date to some degree is the nature of the project – a closed-source, PDF/HTML-based textbook. We live in an era where someone in a video will take you by the hand and show you how to voice an C7b9 chord, the best way to finger a Bach cello suite, or how to create the nastiest bass drop in your dubstep remix. There’s no way a single authored textbook could compete with resources that vast and accessible.

Perhaps the answer is a text that is open source, allowing many users to edit and contribute to the text?

This book is clear enough if you’ve already mastered the subject and just need a reference. If you don’t have a background in music theory, this book will be a dry and potentially confusing read.

It’s difficult to write clear and engaging prose about music theory. The best music theory writing emerges organically from a question or observation about a piece of music. Music must be at the center of any effective music theory discussion. This book takes the opposite approach, introducing many topics abstractly without any reference to an actual piece of music.

Take for example its discussion of the triad:

-------------------- 5.1 Triads

Harmony (Section 2.5) in Western music (Section 2.8) is based on triads. Triads are simple three note chords (Chords) built of thirds (pg 137).

[Fig 5.1 is here in the original]

The chords in Figure 5.1 are written in root position, which is the most basic way to write a triad. In root position, the root, which is the note that names the chord, is the lowest note. The third of the chord is written a third (Figure 4.26) higher than the root, and the fifth of the chord is written a fifth (Figure 4.26) higher than the root (which is also a third higher than the third of the chord). So the simplest way to write a triad is as a stack of thirds, in root position.

--------------------

This is all technically correct, but it’s not very helpful to the student who knows nothing about triads. And it’s dull. Learning how to build and play triads should be one of the great “aha” moments for a student in music theory. They’re so simple, yet so powerful and versatile. When you understand the triad, a whole world of harmony opens up to you.

A student may be able to decode (with some difficulty) the book’s instructions for building a triad, but they’ll have no sense of why the triad matters (here’s a place where examples of actual music could be helpful).

We generally don’t expect that an introductory music theory text will be a compelling book. But we really should (and this is a criticism I’d level against many commercially produced textbooks too). Some of our students are artists. Some of our students are civilians who are starting a potentially life- long engagement with the arts. If teaching music theory is important, we must get in the habit of writing our textbooks with clarity and passion.

The ideas and terminology seemed consistent from section to section.

It is as modular as an Intro to Theory text could be (although it’s not clear to me why modularity would be desirable in this case). When the book references material from other sections, it clearly points students in the direction of that material.

The organization of the topics made sense. The chapter on acoustics, while informative, seemed to disrupt the flow of the rest of the book a bit (although one could skip that chapter without any problem).

Interface rating: 1

The book’s interface is a real problem on several levels.

The book’s layout (at least the PDF version) is reminiscent of a journal article. The text is formatted in a clear but small font and densely packed with very little whitespace (we’re working in a virtual medium – please use all the whitespace you need!). Diagrams and musical examples are referenced (such as “Fig. 4.2.1”) rather that incorporated directly in the layout of the text. There are copious footnotes and headings are numbered four levels deep (“6.2.2.1 Pythagorean Intonation”).

All of this works to make entry-level music theory look as inviting as the instructions on your tax return. There are plenty of references to supplementary material, but those references are buried in footnotes that contain inactive web links (meaning you can’t just click on them, you need to copy the link and paste it in your web browser). And many of the links are broken.

The diagrams are unappealing and poorly laid out, making it difficult to understand the concepts they are trying to communicate (for example, the circle of fifths chart in Fig. 4.44). The book is set mostly in black and white, but every once in a while parts of the text in figures will be arbitrarily printed in red or blue (see Figure 1.74).

The most troubling element is that the musical examples themselves look amateurish. Music notation software capable of creating professional-looking music layouts has been widely accessible for decades. Some of the problems I have are quibbles (like the out-of –proportion bass clef in Fig. 1.1), but some are inexcusable (like the incorrect stemming of the bass clef line in Fig. 1.10), and some are just bizarre (like Fig. 4.9 where an un-metered musical example is given the time signature 8/4). But in an introductory theory class where learning to clearly and correctly notate music is a priority, sloppy musical examples are inexcusable.

Design may seem like a trivial thing to criticize in a textbook, poor layout and design can be a major impediment to effectively communicating a book’s ideas.

I didn’t find any problems with the grammar of this book.

There is very little actual music in this text, and as a result the book has almost entirely removed music theory from its cultural context. It equally ignores the actual music of most eras and cultures. There’s no Mozart, no Bach, no Gershwin, and no Stevie Wonder. It does deal with some theory topics outside of the realm of classical music, such as the blues scale. But there isn’t a single lick by Robert Johnson or Thelonious Monk to be found. In the places the book does use actual music, the choices lean in the public-domain folk direction (for instance, transposition is introduced via the sea-shanty “The Saucy Sailor”). I realize the nature of this project might limit it to public domain music, but that still includes a vast amount of repertoire. Also, there is some room under fair use for some use of copyrighted material (and maybe the Open Library Textbook project could guide authors on how to use that right to its fullest extent).

I’ve been critical of this text, but I’d like to acknowledge the enormous amount of work that Catherine Schmidt-Jones has put in to creating this book. Her task was not only to write a theory text from scratch, but also to make the case that an open textbook could be a viable alternative to commercially produced textbooks. This is a necessary and important first step. I’m grateful that she took it and I’m rooting for its ultimate success.

Reviewed by Sean Doyle, Professorial Lecturer, American University on 2/1/18

Overall, the text is a comprehensive approach to the fundamentals of music theory, with particular focus on the standards and conventions of music notation. There is a detailed index but no glossary. The addition of a glossary could be helpful, especially with regard to terminology that is often mixed-up or easily confused by students beginning to read music - "meter" vs. "time signature", for example. This is described in a note in the body of the text, but appearing in a glossary would make for a quicker, more straightforward delineation between the two concepts.

The content, in general, is accurate and unbiased. Some of the notational symbols are a bit of out the ordinary - the double-flat, for instance - is graphically not quite what one would see in printed music (the flat signs "smushed" together or overlapping). This may be a result of the unique notation program being used to render the musical examples. The inclusion of a more systematized approach to counting rhythms (rather than 1-&, 2&) would not only be more helpful but certainly appropriate to the learning abilities of the student for whom this text is intended.

Content is relevant and will not be obsolete, other than perhaps occasional references to specific technologies.

The tone of the text is straightforward and accessible. Concepts are expressed simply and directly. Longer sections/bodies of text (especially in later chapters pertaining to form) could be clarified by including more musical examples.

The text maintains a conscious, consistent use of terminology.

This is perhaps this text's greatest strength - the sectionalization and numbering of each concept. There is occasional self-reference, but entirely to the benefit of the reader in developing upon concepts and ideas. The text is very easily navigable and assigning discrete units to correspond with distinct sections of an assignment or course outline would be very easy for any instructor to manage.

Overall, the organization of the topics in this text is good. Perhaps the early, detailed introduction to acoustics (Ch. 3) would be better suited with the later discussion of those concepts within the context of hearing (ear-training), would form a more cohesive organization of that concept.

The interface of the text seems clear and easy to navigate. It took me a while to realized the linked content in footnotes was occasionally supplemental material and not just online access to the print material of the text - this could be made more explicit in the front matter of the book.

The grammar is accurate. Occasionally the tone of the text suggests a certain uncertainty (using colloquial terms like "pretty much", "tends to", etc.)

Although there are not many examples of notated musical works cited in the text (for reasons of copyright, presumably), there are mentions of musical examples from a diverse variety of cultural backgrounds.

Reviewed by Joshua Harris, Assistant Professor of Music, Sweet Briar College on 8/15/17

The title and introduction's stated objective ("to explore basic music theory so thoroughly that the interested student will then be able to easily pick up whatever further theory is wanted") are vague enough that the question of comprehensiveness becomes difficult. There is in the book a comprehensive discussion of musical mechanics and notation, in some cases more than a "basic" course would require (specifically discussions of orchestration, acoustics, and temperament). However, these tangential topics are far from comprehensive themselves. Also, it is difficult to place this in a college music theory curriculum; it's too advanced at times to fit the rudiments or fundamental (i.e., preparatory) course, but it lacks any substantial discussion of counterpoint, voice-leading, modulation, or chromatic harmony, which are common to the typical four- or five-semester theory course, usually covered by a single text. As an introductory survey of music-theoretical concepts, however, I would call this very comprehensive.

The book is accurate for the most part, if imprecise at times. The discussion of time signatures, for example, is misleading but ultimately harmless (the old top number/bottom number rule about what note gets the beat, etc., doesn't apply to compound meters). Da capo and Dal segno are also translated incorrectly as "to" the head and sign, although the gist remains correct (i.e., one does, in fact, go back "to the head," etc.).

The basic mechanics of music and music notation are unlikely to change soon, but some broken links here--apparently intended to take the reader to online discussions about certain ideas--suggest that it might already be out of date. There is some indication on another website that updates are being made, or were intended to be made, by the author, but it isn't clear what the timeline for these updates is. The only date seems to be the original publication date of 2013.

The conversational style of the prose undermines the book's clarity. The technical terminology is adequately explained, although sometimes it is not well-defined at the time it is introduced. However, a hyperlink is always provided to a more complete definition.

The book is internally consistent. This is reinforced by hyperlinks throughout the epub version.

Generally, the book is modular enough to be useful. I can envision a teacher being able to easily realign the subunits without presenting disruption to the reader. However, the layout (of the epub version, especially) often detaches subheadings from text, causing some mild confusion.

It seems like modularity has won out over logical flow of ideas. Enharmonic intervals and chords are included in the discussion of enharmonic pitches, for example, well before the concept of chords is introduced. I like the idea of links, but they might be overdone. The structure of the text relies on students' ability to make good use of the links to follow threads of complementary and reinforcing ideas, but beginning students won't know what fits together, and they could get lost. Also, there are intrusive notes from the author regarding an online survey, which is now closed, throughout the text.

The layout (epub version) feels cluttered. I would appreciate more space between headings and text, as well as above and below musical examples. Musical examples were very amateurish, using an unusual music font that was difficult to read. There were also frequent collisions of musical symbols (especially double flats) and some superfluous symbols (for example, it's distracting and irrelevant to use an 8/4 time signature when discussing intervals).

The text contains no grammatical errors, though inconsistencies in style and fonts are distracting and imprecise.

The text does a good job including discussion of (or at least mentioning) music from a variety of cultures.

At the risk of criticizing the book for what it isn't instead of what it is, I would just say that for this reviewer, an introductory text that had less prose and more focused text, such as lists with key terms, definitions, etc., to accompany the already useful examples, would be more helpful.

Reviewed by Claire Boge, Associate Professor and Coordinator of Undergraduate Music Theory, MIami University (Oxford Ohio) on 6/20/17

The book covers material corresponding to what most call Basic Musicianship and Fundamentals of Music and Music Notation, as well as more general terminology that would apply to Music Appreciation. It also adds material introducing the basic concepts of the Physics of Music and how it works in various instruments. Despite showing modules on Form, Cadence, and Beginning Harmonic Analysis, the author makes it clear that many of these concepts are more advanced and recommends additional sources be used. The book could use a module covering figured bass -- and although there is a cross reference to other published software on this topic (ArsNova), that software requires purchase or a site license and is not accessible through the open source text.

The content is accurate but some of it needs to be updated. See below.

The text is written in a way that updates should be easy to implement, and the author is very conscientious to tell students in the preface that whenever multiple terms exist, they will be given. The current content is accurate but some of it needs new supplementary data: 1) Octave designations should also refer to include Acoustical Society names as well as Traditional names, and given the book's implied target audience, MIDI-standard might also be a good idea; and 2) Outside references should be maintained to make sure that the most recent editions are cited (such as Grout [Palisca/Burkholder] History of Western Music).

The text is clearly written. I particularly like that the author sometimes interrupts the "facts" by asking questions which take the reader to the next explanation. This begins to subconsciously set a theoretical mindset of looking for deeper explanations. I especially recommend that everyone read the Introduction before going into any of the modules! It is one of the best parts of the book, and not only sets the stage for what the book does, but also how it fits within the larger context of explanations.

The book is clear, with terminology consistent throughout. But, different modules seem to be written for different levels of students. The early chapters are presented very basically and are extremely thorough -- some even contain external lesson plans clearly written for beginning classroom teachers following national standards. Later chapters, such as those on acoustics and terminology, seem to be addressed to a college audience. This extends to methodology as well. Earlier content is more algorithmic in nature (teaching treble clef as EveryGoodBoyDoesFine instead of G-clef with the alphabet surrounding the G-line); later material is more linguistic (definitions of different textures and presentation of interval inversion, for example). It is not offensive, but it does make for some awkwardness if one jumps around in the modular sequence.

Modularity is one of the best aspects of this publication. Sections are clear; subheadings are frequent, examples are peppered throughout, and everything is graphically pleasing. It would be easy to use some modules and not others and maintain consistency.

The book generally follows an established pedagogical flow frequent in many similar presentations. The only interruption is with the Physics materials. It does make sense to introduce the scientific explanations when they are pertinent, but it would also be helpful to collect them all in one place. For thorough review readers, compile Module 3 with 4.6 for a complete unit.

I found the book difficult to navigate on a Mac and iOS. I did not test materials on a Windows interface. I looked at all three options: PDF, e-pub, and Open Stx CNX. CNX is by far the easiest to navigate with the cleanest links. All versions require that one leave the text and download the audio examples, play the examples, and then return to the text. Many examples would not play. When I would look up the direct weblink in footnotes, I would often encounter "error 404". It would be difficult for a less patient person to keep trying in different formats. I was initially confused by the fact that Examples, Exercises, and Text all have numbers but that the numbers don't necessarily align. Text unit 4.5.3.3 also contains Example 4.8 and Exercise 4.14. For a while, I couldn't find anything and their placement made no sense while jumping from module to module and checking out answers. Once I figured it out, it was okay but remains counterintuitive.

Grammar is accurate and clear. It is mostly uncomplicated.

The book primarily is focused on materials relevant to popular, jazz, and classical musicians. Lead sheet and Roman numerals are both covered, but there is a clear tilt towards the skills and knowledge needed for gigging musicians. There is some inclusion of other cultures and nontraditional scales, moreso than in most introductory books of this nature. Modes and Ragas are covered, as well as octatonic and some older scales such as Hungarian major. With the exception of using "Every Good Boy Does Fine", the prose is ungendered and the explanation that underlies "western" and "world" terminology is clearly presented and its bias is acknowledged.

This book is most appropriate for use by amateurs who wish to know some details about the construction of musical elements. It would be useful as a textbook in a non-AP secondary school level music theory class. It could also be a good supplement for students taking a Music Appreciation type of Gen-Ed course. It could possibly supplement a World Music Gen-Ed course. It is not appropriate for adoption by music majors at the university level for anything past a first-semester or remedial Music Fundamentals course. It could, however, be a good resource for summer study by music students prior to their first university theory course. The author has clearly spent a great deal of time and effort on this resource, and I hope she continues her devotion to the task. Disclaimer: I am a coauthor of a different Music Fundamentals textbook; nonetheless, I have reviewed this resource objectively and dispassionately and made every attempt at balanced scholarly evaluation in my comments. This is a valuable resource for everyone concerned about the cost of materials to consider.

Reviewed by Stephen Martorella, Adjunct Instructor, Rhode Island College on 4/11/17

The text covers the basics of music theory as laid out in the table of contents in four of six sections with some additional peripheral material in the other two sections. While some subjects are well covered, including the most important basics of music theory, many other more advanced concepts are “introduced” but given only cursory treatment. This makes an instructor an essential element in terms of how to present the material, how much of it to present, in what order to present it, and what perhaps is better left to another course. The introduction explains the rationale to the book and suggests the many ways it could be used. The table of contents is very well organized presenting topics and sub-headings that function as keywords. The index was less useful as it was a bit confusing, in some cases referring generally to sections but not necessarily specific to the item being looked up. Terms were generally given a specific page, but some were missing. A glossary would have been helpful.

Content is accurate, error-free and unbiased.

Content is up-to-date, but not in a way that will quickly make the text obsolete within a short period of time. The text is written and/or arranged in such a way that necessary updates will be relatively easy and straightforward to implement.

Sometimes the text is clear, straight forward and easily accessible, unfolding complex ideas in a clear step-by-step manner that aids in overall comprehension. At other times, however, the text is wordy and confusing, introducing terms that are not always explained, and often requiring the reader to jump about to receive those explanations. Some of the more basic yet difficult to grasp ideas, as for example the basics of rhythm such as downbeat and upbeat, are more easily shown by example, perhaps a video link, in the event the book is being used in a class where musical demonstration might not be available by the instructor.

The text is not consistent in terms of terminology and framework, some chapters are very advanced but incomplete, while others are clear and lucid. The first module on notation seemed the most complete, being comprehensive, clear and well laid out in terms of organization and unfolding of the topic.

This is the strongest suit of the book, being well sectioned and in such a way that modules can be arranged and re-arranged with sub-headings also referenced numerically, i.e. 3.1, 3.2 etc. Since many sections introduce ideas that are explained in later chapters and/or subdivisions, instructors may chose to re-arrange that material accordingly. Similarly, one might not want to break up introducing the basics with “The Physical Basis of Sound” a well-laid out but far more technical and scientific chapter (3) which comes between Notation - Basic Music Definitions (chapters 1 and 2) and chapter 4 which introduces intervals and scales along with such concepts as half and whole steps, octave, intervals, major and minor, harmonic series and the circle of fifths. It would do well for the instructor to read the Introduction which gives the rationale of the book, its organization, and how it’s various modules can be adopted to fit “different needs, levels, and skill strengths”.

The topics in the text are often, but not always, presented in a logical and clear fashion. It is sometimes necessary to jump about to get a more comprehensive understanding of a topic. Some very advanced concepts are introduced in an incomplete manner and then dropped, perhaps better to be left for another course. Other ideas seem to interrupt rather than complement what is being presented. To be fair, the author states up front that people have different needs and are at different levels, and what might suit one might not do as well for another. That is the beauty of the modular organization, that it can be refitted in so many ways, but it will require that insight from an instructor, so this is not a book to be recommended for those who wish to be self-taught.

There are many music examples given in the text which display what is going on, and there are often links to sound or score samples of music that demonstrate the various concepts under discussion. Not all of the links worked, but that is something that can be addressed as the work undergoes review and revision.

The text contains no grammatical errors.

While the theory of music is culturally neutral, the examples that underscore draw from an inclusive of a variety of races, ethnicities, and backgrounds, and styles, and from popular, rock and jazz as well as classical musics. This is sensitive not only to cultures but also to different historical periods, as for example chapter 6 “Challenges” which contains sub-sections on different tuning systems and one on modes and ragas.

This is such an enormous venture to undertake that I can only express deepest admiration and congratulations for the fine work that has been presented thus far, acknowledging that this book has the potential to reach a very wide audience of potential converts to the wonderment of the musical arts through an understanding of the structures and ideas that form the basis of musical creation, musical performance, musical listening, and musical enjoyment. Kudos and much thanks.

Reviewed by Maristella Feustle, Music Special Collections Librarian, University of North Texas on 4/11/17

The text is imbalanced in proportion. I don't believe it necessary to have 63 pages on notation (Section 1), the longest section in the book. Perhaps there is also a distinction to be made in scope under the umbrella "music theory," between mechanics (notation and key signatures), and analysis. In any case, the time spent on notation is disproportionate given the length of the other sections of the book.

There is no glossary; terms are only referenced in the index. There certainly should be a consolidated, systematic glossary, especially given how much jumping around is already built into the book (e.g., early sections referring to later sections for definitions). It would be much easier to flip to the back of the book. For that matter, definitions are sometimes inconsistent in usage and rendering (upbeat and up-beat), or neglected/left for later (relative minor is discussed without definition in Part 1).

Content Accuracy rating: 1

The book contains serious errors and oversimplifications. For example, the assertion about jazz eighth notes on p. 54 is false. The faster the tempo, the straighter the eighths get, with no concerted effort to accent the upbeat. (For the record, I have master's degrees in jazz guitar and music theory.) I also take issue with the use of the guitar as an example of a need for accommodations to dumb down music (pages 28, 242, 258). Chord symbols ought not to imply a crutch for the less musically literate, and capos have a nobler use than merely avoiding accidentals.

The discussion of time signatures as being like fractions on p. 35 is misleading and unhelpful.

For another example, on page 54, the literal translations of DC and DS are wrong. "Da/dal" means "from/from the." "Al" means "to the."

That depends. The current plethora of problems with the book gives it a shelf life of zero. Much of the subject matter is quite timeless; revised versions would leave room for update/expansion in discussions of contemporary and international music.

Clarity rating: 1

I regret to put so fine a point on it, but the problems of style and usage in the book are such that it would not make it through the door of a conventional publisher. The text is riddled with filler words and disruptive prepositional clauses and insertions (See, for example, the introduction), such that much of it could be condensed and presented much more straightforwardly. The text's attempts to be informal and conversational do not help clarity, but again introduce unnecessary verbiage (e.g., on page 42, "A piece that is using pickup measures..."). The frequent use of contractions and beginning sentences with "So" seem stylistically inappropriate. Further problems with clarity arise in cases like page 36, figure 1.51, which reads "If the time signature is three eight, a measure may be filled with any combination of notes and rests that adds up to three eight." [Did the author mean three eighth notes?]

There are inconsistencies such as those already mentioned with terminology. As also mentioned earlier, the proportions of the sections needs to be evened out. Stylistically, it is consistent, other issues notwithstanding.

Sure, the text is modular, but in its present state, modularity works against it. I believe there is a balance to be struck between modularity and linearity of presentation -- the development of topics should build on what comes before. This text may be too modular, to the point of disjunction. For example, relative minor is mentioned in part 1, but the main treatment of it does not appear until part 4. On page 38, compound meter is introduced without definition in that section. Similarly, intervals are discussed without definition or introduction early in the book, but treated in earnest in part 5. The discussion of enharmonics should at least make a nod toward issues of temperament, brass, and fretless stringed instruments much sooner. Also, it may not be necessary to reinvent the wheel in terms of organization: Many conventional theory texts model an effective progression of concepts.

Organization/Structure/Flow rating: 1

As already noted, the text's modularity is in some cases counterproductive, thwarting a linear progression of ideas that build upon one another. Within smaller sections of the text, there are also instances where a discussion could be consolidated, such as the disjointed discussion of accents on pages 57 and 59. The discussion of enharmonics on pages 21 and 22 seems redundant with that of page 17. It seems like the text was not edited to combine, rearrange, expand, and contract what was originally entered into the word processor.

The choice of font is not easy on the eyes, at least in the current PDF presentation. It should be a consistent black, rather than the varying shades of black to gray the PDF currently renders. Inconsistencies in the font (and the use of too many fonts in examples) detract from the presentation of the text.

The text also links to a multitude of file formats of questionable audio quality (midi, mp3, swf). It would help at least to pick a format and use it consistently.

Grammatical Errors rating: 3

As already noted, the text contains numerous problems of style and usage, partly in an attempt to be informal/conversational. The larger problems are stylistic and typographical.

Cultural Relevance rating: 3

I've already noted the apparent bias toward the guitar as the dummy of the stringed instrument family; the other item that jumped out at me was the implication of a single, monolithic African-American tradition on page 48. I would also strongly discourage the word "jazzy," which causes actual jazz musicians such as myself to cringe inwardly. The discussion of ragas and international music is not wrong, but seems general, perfunctory, and does not add much value in terms of detail.

This text urgently needs to be proofread, edited, re-organized, and rigorously held to a style manual for matters like the placement of punctuation inside quotation marks, the use of "p." rather than "pg," and overall writing style. Again, I regret to put too fine a point on things, but the text as it stands now is not a credit to the noble goal of the open textbook initiative.

Reviewed by Miriam Webber, Assistant Professor, Bemidji State University on 2/8/17

This book covers a variety of topics needed for a basic understanding of music theory. Topic include notation fundamentals, acoustics, scales, forms, cadences and even transposition, modulation and an introduction to ear training. read more

Well-informed, this book attempts to cover a wide knowledge base for music theory, with more complex terms being introduced in less detail that would typically occur in an advanced text.

The text appears up-to-date, with regular responses to surveys, etc. recorded within the book.

Very clear writing. Although a bit conversational as other authors have pointed out, I believe the audience for this text would appreciate the tone.

Seems fairly consistent.

Modularity clear and easy to navigate.

Well organized for the most part, although some finer points seemed less logical. For example, a discussion of the harmonic series appears both the "Notes and Scales" and "The Physical Basis" chapters.

Interface is strong. Multiple colors are used for examples, but the choice of colors seems a bit arbitrary.

No grammatical errors that I found.

The book attempts to appeal to a varied audience, and makes use of popular and more classical, and occasional non-Western styles.

Reviewed by Matthew Andrews, Graduate Student, Portland State University School of Music on 2/8/17

Quite comprehensive for its stated purpose of covering "only the bare essentials of music theory." I would not use this textbook in a course intended for music majors, but it would make an excellent textbook for a non-major "introduction to rudiments of music" type course. The book spends a lot of time on notation and other *very* basic musical concepts, without going into very much of what I would consider serious first-year music theory.

I loved the chapter on "The Physical Basis" of music. This perspective is missing from many classic books on music theory, and I would use this chapter by itself even in an advanced undergraduate theory course. I also very much enjoyed the sections on tuning and tuning systems, another subject which is usually glossed over.

No complaints in this regard. The author's approach to terminology is broad enough (e.g. giving several terms for the same types of cadence) that any errors or limitations inherent in a single term are covered by the use of alternates.

I was satisfied with the brief mention of raga theory, a subject about which I know more than a little. It's easy to mischaracterize raga, and the author did a better job than most.

The section on tuning was well researched and clearly written, although I doubt anyone who reads it will be intrigued enough to investigate Partch's or Harrison's writings on the subject.

The content is up-to-date, but in terms of relevance it is geared more toward pop or jazz musicians than classical musicians. That said, musicians who are totally new to the basics of music theory will find plenty of material they can apply to their existing understanding and practice.

All jargon is well-contextualized, both in-text and with links. Organization and prose are clear enough, although the written passages could all use another round of editing for empty/hedge verbiage (lots of "probably" and the like).

Absolutely consistent. The author's broad approach eschews ironclad terminology for a more diffuse approach, which supports a certain robustness. On occasions when the author does make an unequivocal decision (e.g. regarding the numbering of harmonic overtones), she explains the alternatives and gives her reasons for choosing one framework over others.

Very customizable. Each chapter is self-sufficient, especially in an electronic format; asides and explanations can be skipped or investigated with a click.

I would happily use just the chapters on acoustics and tuning. Total newcomers could use the first two chapters as a primer on self-study in notation as preparation before beginning a term (this is something I might assign for summer or winter break reading).

Considered as a linear book, too much time is spent early on in explaining notation and other rudimentary concerns before arriving at the meat of music theory as such. The e-book format somewhat obviates this problem. The chapters themselves are well organized.

The musical examples - both written and recorded - are too few and too disparate. It would be best to create a companion site to host all of it.

No grammatical issues (but see above re: prose style).

The book is explicitly written with practitioners of the Western tradition in mind. Other traditions are mentioned, if only passingly. The important thing is that the author takes care to emphasize when a topic under discussion is a Western-normative practice and not a universal rule. This is an improvement over many other theory texts.

The book could use a lot of editing; there are huge blocks of text that don't need to be so long or so wordy. A book of this nature should either have a lot more exercises or a whole separate workbook, and there should be vastly more musical examples drawn from the real world.

There is practically nothing in the way of music school level theory - no figured bass, almost no roman numeral analysis, very little discussion of cadences, harmonic rhythm, and all the other things that make theory so interesting to students of the Western art music tradition. It may only be my bias: I learned first-year theory from Piston.

However, this textbook could be great in an introductory or survey course intended for non-majors. A rock guitarist, jazz pianist, or pop singer who wants to learn the bare minimum of musical knowledge to improve their understanding of popular music and ability to communicate with other musicians will find this book comprehensive and very useful.

Reviewed by Jeffery Kyle Hutchins, Artist/Teacher, Virginia Tech on 2/8/17

I found this text to be very comprehensive in scope of teaching basic music theory. I found a great deal of emphasis was put on naming notes, scales, and rhythms, which is perfect for a introductory text. The other sections, such as Harmony and Form were very surface level, allowing the reader to familiarize them self with the topic and not get too bogged down in the details. I would say this text is best suited for an adult students brand new to reading music.

I found the content to be very accurate and clearly articulated. The examples were easy to read and easily understood.

This book is mostly a summary of basic musical concepts, and to that end I suspect will remain relevant for some time. I think it would be necessary for a student to look into additional material for any sort of historical context or a further understanding of form and harmony.

I feel that the terminology is defined very well in the text and the material provided is quite clear in meaning. The format and layout of the text is very plain and clear to read.

The language used in this text, the formatting, and the work examples are very consistent throughout the text. The material in each chapter is organized well and presented clearly. The examples and images provided are engraved very well.

I think this book would absolutely be modular. Were I to teach out of this text, I could definitely see myself picking some material to use while supplementing or omitting some other sections. I think one could very easily use these sections to fit their particular needs.

As mentioned early, I think this book is very well put together. Each chapter is organized in a similar and well articulated fashion, and is sequenced well to cover the basic music theory material.

There are definitely no distractions from this text. I think the layout and formatting are consistent, but very plainly done. It would have been nice to see some (even minimal) graphic design done to this book. As such, it reads more like a pedagogical dissertation. Even though I find the material accurate and structured well, this book is quite dull to look at graphically.

There are no grammatical errors.

The text includes examples of Western and non-Western music. It is not insensitive or offensive.

Reviewed by John Irrera, Instructor of Music, Virginia Tech on 2/8/17

This book is meant to be an introduction to music theory, presenting to the learner the basics of how music is composed, performed, and interpreted. This book accomplishes this task, as it explores rhythm, pitch, notation, form, analysis, with a helpful glossary at the back of the book. However, it deals with subjects that I find are not necessary for the beginner when it comes to trying to understanding music theory, such as the entire section upon the physics of sound and harmonics.

The information in the book is accurate. The way some terms are used in the book I question, however, such as the use of "downbeat" to refer to all of the beats in a measure, as outlined in the time signature discussion, as opposed to just the first beat of a measure, but in general the information as presented is correct.

The content is up to date, and makes a special effort to try to have examples from more popular musical artists and genres. This aids in making the material more relatable for individuals that don't listen to musical in the Western Classical tradition.

The text is easy to understand and straightforward. Sometimes I found the terminology used occurred a bit earlier in the text than was needed to help explain a point. For instance when discussing rhythm and time signature, the author chose to discuss tempo in terms of the Italian terminology, such as allegro, which had yet to be explained, instead of simply using the number of beats per minute method. By adding the Italian terminology, fairly early in the book, and not yet having explained what these terms mean, it created another layer of complexity, that was not needed when trying to discuss note duration and rhythms.

The book is consistently organized and formatted clearly for the reader.

This text is readily divisible into smaller sections, making it a great asset for excerpting. A wonderful aid for use in many different course settings.

This I found to be the weakest part of the book, as it was organized in a manner that often took a certain amount of knowledge, on the part of the reader, for granted, especially after it states that it is specifically designed for the beginner. I think some things were not explained in the correct order, to allow for greatest understanding by the reader. For instance, when discussing note names the author discusses enharmonic keys and scales, when the concept of what a scale, major/minor, or even a key signature had yet to be explained.

The interface works well. It is best to not view as a PDF, but instead via "ePub" as this allows for the links to work, allowing for one to quickly jump around to different sections of the book to find examples.

I could have used a bit more examples to explain concepts, and also would have benefited to have an example/figure right after its description. This book often lists many different concepts in a block of text, and then has all the examples on the next page.

Overall, it accomplishes its goal and is user friendly.

I found no grammatical errors.

The use of art music and, also popular music, as examples, make this book more inclusive than others.

A fine text, but would require significant lecture time, and supplemental examples, to ensure that the material was firmly understood by the student and that they were able to apply this knowledge to actual musical practice.

Reviewed by Shane Anderson, Associate Professor of Music, Nicholls State University on 12/5/16

The text covers all basic introductory material of Music Theory. From the Introduction, it is clear that the author intends this text to be an introduction to Music Theory and not a comprehensive text for advanced concepts. I would like to have... read more

The content is error-free.

Music theory content is unchanging and does not need updating. The "Challenges" chapter at the end is a nice addition to include some contemporary concepts and non-western music.

The text is very clear and easily understandable.

The overall layout of the material is clear and well-planned.

The author has divided the concepts into easily accessible modules.

The text generally introduces concepts in a well-organized manner. I would like to have seen Diatonic chords in major and minor introduced earlier in the text, with more practice examples concerning how to recognize and write them.

The text has no interface issues.

The text includes examples of both Western and non-Western music.

This is an excellent text for beginning Music Theory. I would like to see more practice examples for basic concepts such as intervals, triads, scales and diatonic triads/seventh chords.

Reviewed by Christopher Van Hof, Assistant Professor of Music, Colorado State Univeristy on 12/5/16

While the fundamentals of how music is read, written, and functions are indeed covered clearly, there is no mention whatsoever of the common Practice Period, which is the source of modern basic music theory. Not presenting that historical context is a distinct shortcoming in this text. In a way, the text seems to make an attempt to be *too* comprehensive by covering topics that could (should?) have been dispensed with in a separate book. What is presented is accurate, but really the scope to this reviewer is far too broad to be useful in a semester-long introduction class.

The book presents accurate information. I have personal problems with some of the definitions of articulations (e.g. what the text labels as "legato" I refer to as "tenuto," or, how the first mention of a dorian scale is in reference to jazz, as opposed to the Greek modes). But, in general, the information here is good.

I sincerely appreciate the author's consistent reference to popular music forms, harmony, and instruments. many theory texts gloss over that aspect, but it often an important part of how a student becomes interested in how music works. Using these references is culturally relevant, and will stand a pretty long test of time.

Overall, the information is presented clearly. The tone is occasionally too conversational for my taste (the use of conjunctions abound, there are informal turns of phrase). While some terminology may require additional digging for the reader or explaining from a professor, the syntax and prose is accessible to a competent advanced high school/early college reader.

Each chapter is laid out clearly and in a similar fashion.

This is, I think, the books greatest strength. While I would not choose to use exclusively this text for a beginning theory class, I would eagerly excerpt it for either that kind of class or even for a general education music appreciation class.

Related to question 5, i appreciate the book's flow.

The biggest issue here is the need to cut-and-paste links from the PDF in order to listen to/see the examples provided. This caused quite a lot of navigation problems, and needed the use of a very large number of browser tabs. A single website with clearly organized links to click related to each chapter would have helped a great deal.

Too informal for an academic text.

Again, the use of popular music as well as art music references makes this text more culturally relevant than others.

There is good content in this book, but i would not use it as the sole basis for an intro music theory class. As an excerpt-able document, it could be a strong addition to either a brick-and-mortar theory or music appreciation class, or for an online class of the same content. The cut-and-paste requirement for the examples was a major nuisance.

Reviewed by Lewton Jones, Graduate Student/PSU/Music Teacher/Community Ed, PCC on 8/21/16

The book by Catherine Jones is condensed and takes on many aspects of music theory even the physics of sound.Her comment regarding its peripheral states; "The course is about a better understanding of where the basics come from and will lead to a better and faster comprehension of more complex ideas." She accomplishes this with chapters that focuses on notation, definitions, basic physics, notes and scales, harmony and form, transposing and a good glossary of terms at the end of the book. The book reads like a thesis with graphs that appear like a lecture series. Its possible that that for some it could appear obscure with assumed musical jargon. In an academic way the book is comprehensive, it however leaves out emotional intelligence and the intuitive common sense of music. It has a good historical section.

The information is accurate especially regarding modes and their history and the diagrams they pertain to. It is accurate but the narrative is connected to concepts without enough proofs. The Pythagorean history was substantial but not complete.

The book is a really a summation of older texts and information. I would suggest that students take Music History or read "How Music Works" by John Powell as a guide to this jargon. He was in fact a physicist, and discusses music with out a firewall of IQ separation. I would add his book to this book if I taught this class in order to break down the array of a timeline of passed down Italian terms. In terms as the book's authenticity regarding musical facts it will be relevant for several years.

As I stated it is very condensed. It would confuse a beginner if the lecture was not clear. It defines its musical terms very well and is well researched but truncated when it comes to what is being explained. Many of the topics are books by themselves. I thought the spacial presence of the illustrations and graphs were very clear and helpful to any level.

The book is consistent in its shared historical information much like a dictionary. The chapters are all strong. I can tell that the book is written by one person. It displays solid organization of concepts and truths, but it is not an easy to read narrative.

The modularity is the staple elements of this book. It is very objective almost to a fault. It is not enabling as much as dictatorial. "Jones States in the introduction; "The final section of this course does include a few challenges that are generally not considered "beginner level musicianship."

The book is strong in regarding to organization.

All the interface is professional.

Not a great flow in the narrative. It could be informative to some and confusing to others. Too condensed for me. For no reason/\.

A western view of music and appealing to the Scientific rather than organic.

2 Definitions

2.4 Texture
2.5 Harmony
2.6 Counterpoint
2.8 Classifying Music

3 The Physical Basis

3.1 Acoustics for Music Theory
3.2 Standing Waves and Musical Instruments
3.3 Harmonic Series I: Timbre and Octaves Solutions

4 Notes and Scales

4.1 Octaves and the Major-Minor Tonal System
4.2 Half Steps and Whole Steps
4.3 Major Keys and Scales
4.4 Minor Keys and Scales
4.5 Interval
4.6 Harmonic Series II: Harmonics, Intervals, and Instruments
4.7 The Circle of Fifths
4.8 Scales that aren't Major or Minor

5 Harmony and Form

5.2 Naming Triads
5.3 Consonance and Dissonance
5.4 Beyond Triads: Naming Other Chords
5.5 Beginning Harmonic Analysis
5.6 Cadence

6 Challenges

6.1 Ear Training
6.2 Tuning Systems
6.3 Modes and Ragas
6.4 Transposition: Changing Keys

Ancillary Material

About the book.

Although it is significantly expanded from "Introduction to Music Theory", this book still covers only the bare essentials of music theory. Music is a very large subject, and the advanced theory that students will want to pursue after mastering the basics will vary greatly. A trumpet player interested in jazz, a vocalist interested in early music, a pianist interested in classical composition, and a guitarist interested in world music, will all want to delve into very different facets of music theory; although, interestingly, if they all become very well-versed in their chosen fields, they will still end up very capable of understanding each other and cooperating in musical endeavors. The final section does include a few challenges that are generally not considered "beginner level" musicianship, but are very useful in just about every field and genre of music.

About the Contributors

Catherine Schmidt-Jones graduated from Rice University in 1985, completing a BA in chemistry, a BA in music and a Master of Music in French horn performance.

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206 Best Music Research Topics That Rock The Stage

Music is one of the greatest sensations in human life. If you are writing a music research paper, you have to make sure that the topic is eye-catching. Most importantly, it should move and make you dance yourself. The topic that you are not interested in will not only make you weary, but the results would be unsatisfying too. That is why our writers have found music research paper topics for you to save the day. We love music very much, and so our team offers an Academic paper writing service , so you can trust word.

Table of Contents

Music Research Topics: History, Technical Music, Contemporary And More

Although our writers mainly offer research paper writing services , they did not hesitate for a bit when we asked them to come up with some music research topics for you. You can use any of these 206 topics for free and modify them to fit your needs and match your taste. Read on!

Music History Research Topics

Use of songwriting in relation to the political and social situations in Nazi Germany and the French Revolution
Musical Education between two centuries
Evolution in the definition of music over the centuries
Birth of Music in Mesopotamia
Impact of Arab-Andalusian music on renaissance
Folklore bands of wind music, a cultural manifestation of the people and for the people
Harmonic implications studied by Pythagoras
Music from Ancient Greek
Importance of Music in Greek Mythology
Song of the Sirens in the evolution of music
Greece, music, poetry, and dance
Athens was a center of musical poets in BC era
Classical Greek Style Music
Yanni: A Musician that fuses Modern and Classical Greek Music into one
Role of Music in Greek Tragedy
Famous musical-dramatic pieces
Heroic poets: Arab poets that formed the bases of European music
Performances in amphitheatres by singers-actors-dancers
Classical musician considered himself more of a performer than an author
Ritual dance with kettledrums around the fire: Musical Traditions of Pagan cultures
Classification of primitive musical instruments
Music in China
Music in Mayan Tradition
Apache and Native American Music
How Africans and Columbians formed the modern American music
The musical theory and the instruments used in Japan
Bagaki for Japanese Emperor ceremonies
Evolution of Indian Music
Music in the Mughal Empire
Anarkali: A musical myth with a royal background
Christian Music, Hymns and Choirs

Read More: Psychology Research Paper Topics

Technical Music research topics

Similarity measures, including rhythmic and melodic similarity.
Phylogenetic analysis of music.
National Center for Music Diffusion
Mathematical measures of rhythmic complexity and syncopation
Musical transformations of rhythm and melody
Automatic analysis of traditional music, Afro-Cuban, Brazilian and African music
The mathematical theory of rhythm
Musical constructivism
Model models (MM) and counter models (CM)
The role of sound design in video games and its application to contemporary independent works
Mathematical and computational modeling of musical phenomena (grouping, phrasing, tension, etc.)
A mathematical theory of tuning and temperament systems
Teaching mathematics through art
Music visualization
History of Modern Columbian Music
Acoustic-instrumental composition, electroacoustic and sound art
Interpretation and musical investigation
sound production
Transcription and music editing
Recovery of musical heritage
Studies of music, literature, culture, and colonial anthropology
Music by European composers of the 16th century (Renaissance)
Education and technology in educational scenarios of musical training

Music Argument Topics

Visual Media Music Studio
Music as an important expression in the history of the world
Conversations about music, culture, and identity
The architectural space as a link between music and the citizen
Music Schools for children and young people with limited resources
Role of practice and need for devotion in learning and acing the musical skills

Contemporary Music research topics

Impact of Coke Studio: From Pakistan to take over the world
Effects of Modern Music on Youth
Musical Martyrs: Freddie Mercury, Amy Winehouse, Elvis Presley
Music of Hans Zimmer
Production and exhibition of contemporary music
Entertainment and music centres
Non-formal music schools
Music and education today
Contemporary Mexican music
Satanism movement in modern music
Western musical history and “modern” music
Journey of Music: From the Medieval Family to the Modern Family
Importance of Opera in the modern age
Evolution of music over time: From orchestra to electric
Self-management and promotion of independent music
Music of electric musicians: Alan Walker, Serhat Durmus, Chain Smokers
Modern Music, A Wonderful Expression
The idiomatic reality of the English language
Modern Music in the United States
Current music pedagogy
Music education in the twentieth century

Classic Music Research Topics

Classic music of South Asia
Classic music of Africa
Classic Arab music, the influence of Soad, Um Kalthum
What makes classic music so important and why do we still have to reserve it?
Music of Beethoven, Mozart and Brahms
Use of classic music in the film
Beethoven: How he lived, composed and died
Life and music of Mozart
Classical music by Afro-American women
Music in classical films
Greatest compositions of 19-20th centuries
Style and compositions of Einaudi
Music during the classical period
Classical Music Criticism

African music research topics

The Effects of Slave Music on American History and African-American Music
The use of Afro-Caribbean rhythms for the construction of jazz musical moments
African folk music of Cuba
History of African-American Popular Music
African diversity in music
The study of the oral and musical traditions of the Afro-Mexicans
Studies of African Musical History and Its relationship with modern society
South African influences on American music
African music in Mali
African music: South Africa
Music of the Middle East and North Africa

Pop Culture Music Research Topics

The pedagogical models of popular music
Music throughout the decades of musicals
Brad Paisley and Country Music
The Effects of Music on the popular culture
Hip-hop/rap music: One of the most popular musical genres
The influence of rap music on teenagers
Irish Music: Music and Touch Other Irish Dance Music

Music Theory Topics

Genre and music preferences
The effect of instrumental music on word recall memory
Sample Music and Wellness
The music industry
The Theme of Death in a Musical
The Effects of Globalization on MusicMusic psychology research topics
The potential of music therapy to develop soft skills at the organizational level
Listening to music as a way to relieve stress for teens
The impact of theatricality within contemporary popular music concerts of the psychedelic, glam, and progressive rock genre
Trying music as therapy
How music can help students with ADHD (Attention Deficit Hyper Disorder)
How can music help reduce work stress and maintain a healthy work environment
Musical manifestations of man consist of the externalization

Music Education Research Topics

New pragmatism in music education
Importance and effects of musical education
Philosophy of Music Education
Music, a tool to educate
Competencies in music education
Music as a strategy to encourage children’s effective learning
Interconnection between music and education
Philosophy of musical education

Read More: High School Research Paper Topics

Persuasive Speech Topics About Music

The music is a true reflection of the essay of American society
Music and Its Effects on Society
Matter Of Metal Music
Beethoven’s Twelfth Symphony: the second movement of the symphonic essay
Messages in music
The benefits of music trial
Does music affect blood pressure?
Music Industry Research: An Epic Battle With Youtube
Entertainment and education Via music
Whitman’s music as a means of expression
Music and its Effect on the World
Music: Essay on Music and Learning Disabilities

Read More: Political Science Research Topics

Music Controversial Topics

Whether or not profanations in music corrupt our youth
Drugs and rock and roll
Piracy and the music industry
Music censorship is a violation of freedom of expression
Music censorship
The use and overuse of the music

Read More: Criminal Justice Research Paper Topics

Music Industry Topics

Freedom of expression and rap music
Censorship in the music industry
Influence of music on culture
Analysis of Iranian film music
Analysis of the Turkish Music Industry
Analysis of the South Asian Music Industry
Coke Studio Making and Global Impact
The digital revolution: how technology changed the workflow of music composers for media
Video music as matter in motion
Acoustic and interpretive characteristics of the instruments
The study of musical composition based on pictorial works
Musical prosody of the interpretation

Arab Music Research Paper Topic

Arab music industry: Evolution after colonialism
Music of Middle
Umm Kulthum: Effects on global music
How the Arab music still impacts Asian and American Music
Effects of Arab music in popular French music
Turkish and Arab Music: A Beautiful cultural fusion
Arab Heroic Poets of Andalus and how they formed modern European music
Revival of Arab music through electrical genre

Music Thesis Topics

Film Industry Classical Music
Finding Meaning in a Musical
Music and its effect on my interpretation
How music can interact with politics
Musical phrases and the modal centres of interest of the melody
Effect of ambient music on sleep trials
Main characteristics of the musical organization
Study Of Cadences And Other Harmonic Processes In The Light Of Consonance And Dissonance Theories
Theoretical-experimental Study Of Percussion, Wind And String Instruments
Recognition Of The Instruments Of The Orchestra
Compositive Algorithms Using Unconventional Musical Magnitudes
Development Of A Microtonal Harmony As A Generalization Of The Common Practice Period
Mechanism related to the recognition of specific emotions in music
Musical emotion (emotion induction)

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High School Research Paper Topics on Music

Correlation Between Personality and Musical Preferences Essay
Effects of Rock Music on Teenagers
Does popular music stay popular?
The effect of music on the interpretation of a musical
Musical activities in a spiral of development
Adolescents in the understanding of contemporary processes of music
Musical activities in the content system
Music and the value of responsibility
Presentation of musical fragments, Performance of live or recorded musical instruments
Life stories of composers and musical personalities such as Mozart and Beethoven
Presentation of music related to tastes and socio-educational reality
Exhibition of musical fragments and execution of instruments
Presentation of different types of music, the performance of musical instruments live or recorded
Experience composing music, with lyrics, instrumental or with sounds from the environment, what musical genre or type of sound production does it represent?
The practice of the studied musical instruments, record the meanings that guide your performance and preparation as a student and for life
Why is compliance with the vocal techniques of singing a duty that must be assumed consciously?
Does all music express sound? Does every sound express a genre or type of music?
Practice sound emission and tuning techniques
Why is it important to make movements according to the type of music you listen to?

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67 Popular Music Essay Topic Ideas & Examples

🏆 best popular music topic ideas & essay examples, 🎓 good research topics about popular music, ⭐ simple & easy popular music essay titles.

The Concept of Pop Music Deriving from rock and roll, Pop music found its distinctiveness in the 1950s to not only become one of the world’s most listened style of popular music, but also one of the very few styles […]
Korean Pop Music and Youth Identity Korean pop music has become a powerful genre that connects many youths to their counterparts in different parts of the world.
History of Pop Music in the World: Cultural and Social Changes Later, following the evolvement of industries and development of urban centers, also the lifestyle of poor people improved considerably and this lead to the improvement of music among the poor and the rich.
Roots of Contemporary Popular Music In conclusion, the popularity of R&B music is attributed to the fact that many young white listeners preferred this type of music over country music because it was more colorful and rhythmic than country music.
The Evolution of Popular Music The economic evolution of consumerism in the late 19th century and the early 20th century was marked by the advent of credit and the growing popularity of consumer goods.
The Influence of Radio on American Culture and Popular Music The rise of a national audience was one of the remarkable changes in popular music during the first half of the twentieth century.
Social Commentary in Pop Music Industry Thus, using the emotional potential of music, a popular artist has the opportunity to give the listener a deeper sense of the problem underlying the message of the song.
Popular Music at the Times of Racism and Segregation The following work will compare and contrast the compositions of Louis Armstrong and Scott Joplin and examine the impact of racism on popular music.
Popular Music: Curtis Mayfield’s and Bob Marley’s Songs The most distinct feature that the songs “People Get Ready” by Curtis Mayfield and Bob Marley’s One Love”, is the message that they are trying to communicate to the audience.
American Popular Music and Its Evolution Compared to the country blues popular in the 1900s, classic female blues combines its features with urban theater music, and “Crazy Blues” is one of the first songs of this genre.
The National Center for Popular Music This was due to the untimely closure of the National Centre for Popular Music. People referred to it as a museum, but in a real sense, it was not or it was because the music […]
The National Centre for Popular Music in Sheffield The design of the building, which has unusual features acquired a number of nicknames that are local like curling stones, drums and kettles as the drum tops that were to rotate in the wind no […]
The Cultural Production of Popular Music While most people in this debate express their opinion that the role of digital technologies in the development of music is positive, there exists a category of participants who argue that digital technologies kill the […]
Origins of Popular Music: Discussion The organization of listening in the correct room, along with the separation of music from medieval ritual, the development of specialist musicianship, commercial publishing and the invention of synoptic scores enshrined the individual performer or […]
The Development of Artistic and Popular Music Through the Ages The development of modern music includes the introduction of synthesizers and computers to manipulate the sound thus giving the music a high quality compared to ancient times.
History of Pop Music in the Early 20th Century Jansen has given a detailed analysis of the musical and the particular song and he suggests that the sheet music and the performance reveal a combination of different types of ragtime music.
American Popular Music History It is only possible to produce it in economic industries, which look at the popular music in terms of monetary value in which it is considered as a commodity.
The Dynamic Between the Popular Music’ Sound and Look The purpose of this paper is to analyze the dynamic between the sound and the look of two representatives of the Soul Jazz music genre Adele Laurie Blue Adkins and Amy Winehouse.
Popular Music and Accompanying Visual Representation Essentially, popular music is the kind of music that is distributed to wide audiences through the music industry. To address the question, it is needed to explore the connection between music and visual representation.
Disco, Rock, Jazz and Popular Music: Comparison With the support of God, the songs encourage the audience to believe in the power of God to overcome the unfortunate events.
“Pop Music, Pop Culture” by Chris Rojek The title specifically prepares the reader for the interconnection between culture and popular music, as it is one entity that is a great part of human society and the music industry.
Popular Music: Meaningful Contributions to Social and Political Change Music has different classifications depending on various factors including the period in which the music was developed, the type of instruments that the musicians use, the cultural identity of the society that subscribes to the […]
Canuck Rock: A History of Canadian Popular Music Besides, the book helps one understand the evolution process of the Canadian music industry.”Canuck Rock” is a determined assessment of the inception and development of trendy music in Canada starting from the late 1950s to […]
Popular Music in Uzbekistan It is aimed at demonstrating the wit of the participants to each other and the spectators. Apart from the folk music of Uzbek, modern pop music in the country is also significant.
Pop Music Nature and History Classical music was for the high class, the affluent in the society, but the rapid urbanization brought by the industrial revolution came with a type of music popular to the middle and lower classes.
Popular Music and Thinking Errors The message in the lyrics of rock songs is mostly that life is not worth living with the lyrics filled with numerous pessimistic and angry lines.
Western Popular Music Influence in Asia
Popular Music of the Chinese Culture
Culture Industry: Avant-Garde Struggles in Popular Music
Payola: The Dirty Side of Popular Music
Sexuality and Gender: Popular Music and Cultural Identity
Cultural Impact of Popular Music on Society
The Driving Force Behind Popular Music
Historical Relationship Between Art and Popular Music
Popular Culture and History: Representations of the Past in British Popular Music
Similarities Between Classical and Popular Music
Today’s Pop Music May Have Too Much Sex, Not Enough Love
Value Chain Envy: Explaining New Entry and Vertical Integration in Popular Music
The Popular Music Culture of the 1980s
Values Portrayed in Popular Music
The Relationship Between Popular Music and Sexuality
American Popular Music: A Wide Variety of Styles and Trends in Society
The Most Important Impulses of the Popular Music Field
Popular Music Encourages Recreational Drug Use Among Adolescents
Consumer Choice and the Popular Music Industry: A Test of the Superstar Theory
Popular Music: Theory, Method and Practise
Popular Music and Populist Politics
The Issues Surrounding the Attempts to Control the Content of Popular Music
Courses on Popular Music, Film, Advertising and Television
Vietnam War’s Effect on Popular Music
Censoring Offensive Lyrics and Images Portrayed in Current Popular Music
Production and Use of Contemporary Western Popular Music
Economics and the Ecology of Creativity: Evidence From the Popular Music Industry
Popular Music: The Creative Process
Existentialism and Its Impact on Popular Music Essay
Contrast Between Popular Music and Jazz
Popular Music and a Political Position
The Aesthetics for American Popular Music
K-Pop and Korean Popular Music
The Internet and Value Co-Creation: The Case of the Popular Music Industry
Music and Modern Literature: Impact Literature at Popular Music
Gender Stereotyping of the Women in American Popular Music
Popular Music Perpetuates Rape Culture
Bob Dylan and Popular Music
Social Change and Popular Music
Popular Music, Gender, Sexuality, and Cultural Identity
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Putting the Theory Back in 'Music Theory'

Jeremy Day-O'Connell

Music Department, Skidmore College

E-mail: [email protected]

Received June 2019

Peer Reviewed by: Gretchen Foley, Jennifer Shafer

Accepted for publication September 2019

Published September 2, 2020

https://doi.org/10.18061/es.v7i0.7368

What is music theory? This foundational question is scarcely even broached in textbooks and classrooms, and that fact has allowed naive views to persist among students and teachers alike. This state of affairs has also perpetuated an unfortunate disconnectedness in institutional and disciplinary conceptions of music theory, including through the devaluing of music theory "fundamentals." In this essay, I argue for a purposeful centering of theory as an intellectual enterprise; I describe a subtle reformulation of elementary music theory that celebrates its epistemological essence and methodological complexities; and I identify meta-theoretical issues that can be seamlessly introduced early in the music theory curriculum without compromising the delivery of content itself. I begin by describing a classroom discussion prompt that motivates a working definition of "theory" in general, which in turn can be leveraged throughout the music theory curriculum. I then describe several interactive lessons that highlight the theoretical underpinnings of certain venerable topics in tonal music. The study of music theory, even from the very first rudiments, is thus transformed from a stern rite of passage mired in dry technicalities, into an expansive intellectual endeavor—reminding students that they themselves are theorists, both in class and in life.

Keywords: music theory, pedagogy, epistemology, intervals, harmony, rhythm and meter

Introduction: theories of theory

What is theory.

What is music theory, and why is it important? In my experience, these core philosophical questions are seldom addressed by teachers of music theory, who, after all, must attend to a daunting body of content and skills. Admittedly, the latter question—the "why" of music theory—might occasionally inspire meaningful, albeit limited and too often private, pedagogical reflection. But oddly, the more foundational first question—the "what" of music theory, and consequently the "how"—is scarcely even broached in music theory textbooks and classrooms.

This disinclination to consider the foundations of music theory has allowed naive views to persist among students and teachers alike. For many students (and even teachers), "theory" connotes only the most uninspiring and technical necessities of musical study, such as notation, scales, chords, and other fundamentals. On the other hand, for many professional music theorists, "theory" comprises only the most advanced, rigorous, and sophisticated topics, such as Schenkerian, neo-Riemannian, or pitch-class theories. They are both wrong.

I offer this essay as a corrective to such widespread and small-minded conceptions. I will describe a subtle pedagogical reformulation of elementary "music theory" that celebrates its true theoretical essence and methodological complexities. I will resituate music theory as a bona fide epistemological enterprise akin to other sorts of theory, thereby buttressing curricular efforts aimed at the integration of knowledge across the disciplines. Importantly, this approach easily supplements the content of a traditional "theory" curriculum without compromising the teaching of that content itself: indeed, I will describe opportunities to engage with numerous venerable topics in tonal music while centering the theoretical underpinnings of each. Such an enterprise not only fosters a more realistic, reflective, and accurate understanding of music theory as a discipline but also enriches students' appreciation of music theory and its resonance with other fields. The study of music theory—even from the very first rudiments—is thus transformed from a stern rite of passage mired in rules and technicalities, into an expansive intellectual endeavor, adding yet another educational component to music theory's manifold musical benefits (which I will also briefly enumerate at the end of this essay).

An illustrative tale: the case of the hidden theory

To motivate this recontextualization of theory, I begin by offering my students the following tale—part allegory, part shaggy-dog story.

Sally Sophomore returns to campus after a weekend away and finds that the laptop she left in her dorm room won't boot up. She is puzzled, as the computer worked just fine before she left campus. After a moment's thought, she develops a theory: perhaps her roommate had carelessly run down the battery. But upon further investigation, Sally finds that the computer is plugged in and appears to be fully charged. A moment later another theory occurs to her: maybe a virus is to blame. But her attempts to boot in "safe mode" are similarly unsuccessful, so she rules out that idea as well. Finally, Sally becomes aware of a large sticky spill across the keyboard and the unmistakable smell of Cherry Garcia ice cream. Just as she begins to make sense of this, her roommate rushes in with a package under her arms:

"Sally, I'm so sorry! I can explain: we had a party while you were gone, and things got a little out of hand. Before we knew it, a pint of ice cream had melted all over your laptop and wrecked it. I should have kept a better eye on things. I'm really sorry." Presenting the package, she adds, "But don't worry: I just bought you a new computer—the next higher model, actually—and I had all of your files transferred. It's all OK now. I hope you can forgive me."

Sally is relieved, and touched—her roommate didn't have to go to all that trouble and expense to rectify such an innocent mistake. "It's just like her," Sally muses, affectionately: "She's a middle child!" And the two happily embrace, before settling down to work on their music theory homework.

The moral: theory versus hypothesis

Where is "theory" in this tale? Did you spot it? I like to lead students in an in-class discussion, exploring the difference between the casual, popular use of the word "theory" and the strict, more formal use of that word. Students will easily identify two examples of the former: Sally's "theories" that the computer had a dead battery or was stricken by a virus. Such ideas are more properly called "hypotheses"—guesses about a particular state of affairs. A proper theory, on the other hand, may be defined as a conceptual framework that helps make sense of some broad set of phenomena. A hypothesis will prove to be either true or false; a theory, on the other hand, is a way of seeing, for which truth and falsehood are largely beside the point.

Students can be pressed to discern the proper "theory" in the tale above, but it is one that had nothing to do with solving the mystery: the concept of "middle child." This "birth order" theory of personality emerged in the early twentieth century and was popularized more recently by Kevin Leman, whose The Birth Order Book (2009) contains a telling subtitle: "Why you are the way you are." Sally might have said of her roommate, "It's just like her: she's a Libra." That too is a theory of personality, even if its theoretical primitives are very different: instead of "eldest child," "middle child," and "youngest child," astrological theory postulates personality categories based on the month of one's birth.

From here, students can be encouraged to brainstorm and/or research other theories. And in each case, the theory can be shown to have certain basic elements: at the very least, a scope of study and a set of theoretical concepts and categories. Economic theory, for instance, studies the behavior of agents in a market economy, and to that end it invokes such concepts as supply, demand, choice, utility, etc. Likewise for countless other theories, such as various psychological theories, political theory, feminist theory, game theory, aesthetic theory, and of course a multitude of scientific theories—including, notably, obsolete scientific theories like Aristotelian physics or medieval alchemy, each of which were simply the best means of conceptualizing physical phenomena until they were replaced by ones with more explanatory power. Non-majors, double-majors, students in liberal-arts institutions, and broad-minded musicians of all stripes, will happily furnish examples of theories from other disciplines and fields of inquiry. (And some students may be inspired to delve deeper into meta-theory, via such seminal works as Popper 1935/2002 , Kuhn 1962/2012 , or Thagard 1992 .) Music students who breezily speak of "theory class" or "theory homework" rarely consider that music theory, too, is such an example.

A well constructed theory is a powerful thing; where there is understanding, a theory is surely at play. As Leonard Meyer wrote, "Like air, theories may be unsubstantial; but, as with air, we can't live and act without them" ( Meyer, 1998 , p. 18 n. 45). In the case of music theory, it might seem that intervals, scales, chords, meter, form, and other basic elements are uncontroversial, even self-evident, "facts" to be memorized. But students should learn that even the most seemingly obvious music-theoretical constructs are laden with abstraction and artifice. True theory (unlike the hypotheses of a clever fictional detective) needn't be surprising or esoteric. And by the same token, students should recognize that some portions of their "theory" studies fall strictly outside the realm of true theory: for instance, reading clefs and deciphering transposing instruments, however valuable and challenging they may be, are matters of mere notation, not theory.

What follows are some specific ways of leveraging these initial explorations, to help students put the theory back in "theory."

Theorizing in the theory classroom

I will now focus on four meta-theoretical issues that can be seamlessly introduced early in the music theory curriculum: explanatory power, listening as theorizing, theory-building , and symbolic representation . I will discuss these with an emphasis on their relevance to familiar elementary musical topics, each one furnished with musical illustrations. The issues have been chosen both for their general epistemological applicability and for their practicality as touchstones throughout a student's musical studies.

Explanatory power: measuring intervals

Since theory is, as I wrote earlier, "a way of seeing, for which truth and falsehood are largely beside the point," a theory should be judged according to its explanatory power —its efficacy in coherently describing its subject and facilitating fresh insight. The classic tradeoff between theoretical simplicity and explanatory power is well illustrated by a heavily theorized (it would seem, even excessively theorized) elementary musical concept: interval. The concept of interval also offers a perfect opportunity for a "devil's advocate" approach that helps our students dig deeper as they begin to imagine themselves as theorists.

The theory of interval in tonal music postulates categories of distance (second, third, fourth, etc.) that are modified by categories of quality (major, minor, perfect, augmented, diminished). As soon as I introduce this system, I (disingenuously) encourage my students to bristle against such an apparent theoretical contortion and to long for the abundantly straightforward, one-dimensional metric of semitone distance. I lead them to confront the question, Why is semitone distance alone insufficient to fully describe musical space? To answer that question, I invoke the curious reality of musical context, in the form of two simple melodies (Figure 1): the opening of Chopin's Nocturne in E♭, op. 9 no. 2 (Figure 1a), and a subsidiary theme from Haydn's Symphony no. 104 Finale (Figure 1b). I isolate the interval B♭–G (having established a suitable E♭-major context, per the first excerpt) and then its enharmonic equivalent A♯–G (having established an alternate B-minor context, per the second excerpt), easily illustrating at the piano the very different sounds of these two intervals. Students discover that the tempting but theoretically naive conceptualization of semitone distance—9 semitones in either case—elides what is most musically essential about the two situations. By contrast, our theoretically sophisticated concept of interval precisely captures the crucial distinction between a major sixth and a diminished seventh—the one harmonious and unexceptional, the other dissonant and striking.

I then invite the students to sing the two intervals in question, in each case vocally tracing a stepwise path from note to note (Figure 2). Given sufficient tonal context, students will naturally sing B♭–C–D–E♭–F–G in the first case (six notes, hence a "sixth," Figure 2a) and A♯–B–C♯–D–E–F♯–G in the other case (seven notes, hence a "seventh," Figure 2b). The difference between the two intervals, which can otherwise strike some students as senselessly pedantic or doctrinaire, becomes "real," even embodied. A similar aural trick involving ambiguous tritones is perhaps even more compelling—see Figure 3. In contrast to the dispassionate yardstick of semitone distance, the theoretical contrivance of "interval" proves to be robust and human, a triumph of "sense-making." Explanatory power must always prevail.

Figure 1. Two excerpts illustrating the enharmonically equivalent interval (B♭–G versus A♯–G).

(a) Chopin, Nocturne in E♭, op. 9 no. 2

The opening measure (with anacrusis) of Chopin, Nocture in E-flat, op.9, no.2

(b) Haydn, Symphony no. 104, Finale , m. 84

Measure 84 of Haydn, Symphony no. 104, Finale.

Figure 2. A directed "sung analysis" of the intervals in Figure 1.

(a) Major 6th, after Figure 1a.

A directed 'sung analysis' of the intervals in Figure 1. First a Major 6th.

(b) Diminished 7th, after Figure 1b.

A directed 'sung analysis' of the intervals in Figure 1. Now a diminished 7th.

Figure 3. An analogous "sung analysis" of a chameleonic tritone (F–B versus F–C♭).

(a) Augmented 4th.

A directed 'sung analysis' of the intervals in Figure 1. Augmented 4th.

(b) Diminished 5th.

A directed 'sung analysis' of the intervals in Figure 1. Diminished 5th.

Listening as theorizing: hearing rhythm and meter

In the prior illustration, and ideally throughout the music theory curriculum, theory is tested against the listener's real-time experience of music. Such aural verification underscores the crucial truth that successful theorizing mirrors human cognition itself. And indeed, some theorizing even happens automatically: to operate in a culture is to subscribe to existing theories, most of which are acquired without effort or even awareness. It could be said that music theory's raison d'être is to make plain the implicit conceptualizations that any competent listener brings to the act of listening. The enharmonic interval demonstration makes that point vividly (and for many students, astonishingly): not only is the difference between a major sixth and a diminished seventh real, but it's a difference that the ears knew even before the mind was taught. "Your ears are smarter than you thought they were," I tell my students at such moments. Rhythm and meter provide further exquisite demonstrations of the psychological inescapability of such structured (i.e., theory-driven) hearing— listening as theorizing .

Even the simplest musical stimulus—a lone hand-clap—inevitably acquires meaning through the structures assumed by a listener. The difference between Figures 4a and 4b arises not from the stimulus itself (the "music") but from the existence of conceptual categories—an implicit theory of meter. In this case, the listener infers "beat" versus "off-beat" through a real-time application of those categories—which is to say, through implicit musical analysis. As Goethe insisted, "With every intent glance at the world, we theorize." ( Goethe 1810 , Vorwort; thus quoted, prominently, in Schenker [1935] 2001 , p. 3)

Students must also confront the limits of such theorizing, as when they come to terms with musical situations that are rhythmically challenging, under-determined, and/or unfamiliar. I like to ask students to tap their toes to the opening of Leila Pinheiro's " Chega de Saudate "; it is a task that many students find difficult or impossible, but repeated and directed listening can help them to orient their rhythmic understanding to the stylistically idiosyncratic metrical framework. Even more challenging and ear-opening is the rhapsodic 7/8 of Karolina Goceva's " Mojot svet " (Macedonia's 2007 Eurovision song entry): students who have a hard time finding the down-beat will marvel at an informal live performance during which an audience of (possibly inebriated) amateurs spontaneously entrain to the non-isochronous meter through participatory clapping.

Figure 4. The same rhythmic stimulus (a hand-clap) in two contexts.

Steady quarter note beats in first measure and clap on down beat.

Such seemingly rudimentary concepts as beat, off-beat, and down-beat, often dispensed with unceremoniously in the first weeks of a theory curriculum, should instead be honored as the cognitive miracles that they are—profoundly meaningful and profoundly constructed.

Theory-building: confronting anomalies in harmonic analysis

As a tool for understanding, theory must be responsive to the full range of specimens under its purview. For that reason, successful theories are not ordained but rather developed: theory-building is a dialectic process of testing and refining a theoretical system in light of a fulsome set of data. The earlier enharmonic demonstration hinted at this process (as did the beat-finding exercises, in a different sort of way); here I will more explicitly invite my students to partake in theory-building, in the course of a pedagogical turn from chordal identification to full-fledged harmonic analysis.

Tonal harmonic theory postulates a very limited set of harmonic entities—a handful of triads and seventh chords—that are easily learned. (Compare the systematic completeness of pc-set theory; the difference between these two theories reflects the differing demands of the respective repertories.) In an early exercise in chord identification, I present my students with a homophonic choral texture from Mozart's Requiem , the Hostias , which provides abundant examples of various chord roots, qualities, and inversions. My instructions are simple: "On every beat, indicate the chord using 'fakebook' notation. When the chord fails to conform to our inventory of chord-types, simply place an X."

There are indeed plenty of pesky X's, which would seem to besmirch what are some of the most sonically appealing moments in the passage. I used to avoid such inconvenient distractions by micro-managing my choice of repertoire—or else by summarily dismissing them ("Never mind … we'll get to that later"). But in the context of a "theory-aware" pedagogy, I have come to embrace these moments as important teaching tools. I find it stimulating (and fun) to feign exasperation: "Our theory of chords isn't all that good, is it? It has nothing useful to say about many simultaneities in this apparently straightforward piece of music!" A closer look—and listen—will suggest satisfying ways of accounting for those anomalous simultaneities, of course, and thus will emerge the concept of the non-harmonic tone. As my students and I work our way toward a richer understanding of harmony and counterpoint—figure and ground, structure and elaboration, tension and resolution—theory-building comes to the fore.

Symbolic representation: data compression and theoretical priorities in chord shorthand

Finally, it behooves us to consider another common metatheoretical issue: the use of symbolic representation and notation . Theory necessarily simplifies our world, and that simplification often goes hand in hand with exigencies of notation. Chord shorthand is a case in point, and a telling one.

Students find it provocative to learn that an 18th-century keyboardist or fretboardist would have faced a decoding challenge analogous to that faced by a modern-day reader of a jazz or pop "fakebook." The specifics of those two notational traditions, however, reveal how particular theoretical priorities and affordances shape symbolic systems. Students can compare the "native" chordal shorthand schemes for an early-18th-century solo sonata and a mid-20th-century popular ballad, discovering the conceptual traces embodied in each (Figure 5). Baroque figured bass emphasizes intervals and voice-leading within a particular key signature (Figure 5a), whereas modern fakebook notation, agnostic with respect to key, emphasizes instead chord structures in isolation (Figure 5b). These systems consequently elicit very different cognitive work from the performer. (Indeed, the most adept musician of three hundred years ago would have scarcely had a concept of chord root, the 'bread and butter' of even the most casual dorm-room guitarist today.)

An anachronistic swapping of those notational systems helps to recover otherwise hidden elements of the harmonic picture: a hypothetical fakebook to the sonata, for instance (Figure 6a), immediately reveals chord roots and qualities undisclosed by the figured bass, while a figured bass to the ballad (Figure 6b) immediately foregrounds the salient out-of-key chord in m. 4, inconspicuous in the fakebook notation.

Figure 5. Two notational traditions of chordal shorthand.

(a) Figured bass for Handel Sonata op. 1 no. 7, iii, mm. 1-5.

Figured bass for Handel Sonata op. 1 no. 7, iii, mm. 1-5. More description above.

(b) Fakebook chords for "What a Wonderful World" (Thiele/Weiss), mm. 1-4.

Fakebook chords for 'What a Wonderful World': F Am B♭ Am Gm F A7 Dm

Figure 6. Hypothetical anachronistic chordal shorthand for Figures 5a and 5b.

(a) Fakebook chords for Handel Sonata op. 1 no. 7, iii, mm. 1-5.

Fakebook chords for Handel Sonata op. 1 no. 7, iii, mm. 1-5: Am Am/C G♯°/B Am Em/G Dm/F E E7/D Am/C B𝆩7/D Am/E E7 Am

(b) Figured bass for "What a Wonderful World" (Thiele/Weiss), mm. 1-4.

Figured bass for 'What a Wonderful World.' More description above.

Those two symbolic systems correspond to "prescriptive" realms of harmonic theory. By contrast, Roman numerals generally represent tonal harmonic structures with a more "descriptive" purpose in mind. Here too, much is at stake as we develop our notational details and decisions. The explanatory power of the nomenclature "V/V," for instance, points to very different structural aspects of that chord than does the more tempting and straightforward "II ♯ ". Similarly, nomenclature looms large with respect to that familiar pedagogical bugbear, the cadential six-four chord: whatever may be a teacher's stance on the question (of the chord's function as tonic versus dominant), s/he would be remiss not to draw attention to the ways that one's theoretical commitments shape (and are shaped by) choices of analytical notation (" I 4 6 – V " versus " V [ 4–3 6–5 ] "). And in reflecting on their own intuitions about the cadential six-four, students will see that this descriptive nomenclature (no less than prescriptive nomenclature) ultimately represents a compromise in an attempt to capture the fullness of musical meaning.

Conclusion: learning goals in the theory classroom

I began this essay with the question, "What is theory, and why is it important?" Having explored some approaches to the first half of that question, I will conclude with a brief discussion of the second half, affirming the many and varied educational benefits of music theory. The study of music theory, needless to say, helps students to better understand the mechanics of music and the construction of musical works. It enables students to cogently talk about and write about music while exposing them to a large body of repertoire. By fostering intimacy with the details of musical construction, it leads to a deeper appreciation of the artistry of composers and performers—an insight into great minds. Music theory also offers many frankly practical benefits to musicians, in the form of musicianship: it facilitates the learning and memorization of new pieces; it is indispensable to the conductor or, indeed, to any ensemble musician; it informs composition and can be applied to the art of improvisation; and it shapes a performer's interpretation of a piece. More generally, music theory stands to foster a broader disposition of attentiveness: in a world marked by passivity and saturated by distraction, music's great gift is that it invites us to engage with pure sound, and theory's great gift is that it helps us to engage.

Note, however, that this prodigious list of educational payoffs relates to the categories of analysis and musicianship . In the course of those essential and deeply rewarding educational experiences, I find it valuable to also remind students of the intellectual marvel that theory is unto itself, and to remind students that they themselves are theorists, both in class and in life. Reclaiming the theory in what we do as teachers and students will only add a unique layer of richness to students' musical formation.

Acknowledgements

I would like to thank Sarah Day-O'Connell, Gretchen Foley, and Jennifer Shafer for their careful reading and helpful suggestions.

Bibliography

Goethe, Johann Wolfgang von. 1810. Zur Farbenlehre. Tübingen: Cotta. https://doi.org/10.5479/sil.414424.39088007009129
Kuhn, Thomas S. 2012. The Structure of Scientific Revolutions . 4th ed. Chicago: University of Chicago Press. (First edition published 1962.)
Leman, K. 2009. The Birth Order Book: Why You Are the Way You Are . 2nd ed., rev. Grand Rapids: Revell.
Meyer, L. B. 1998. "A Universe of Universals," Journal of Musicology , 16(1): 3-25. https://doi.org/10.1525/jm.1998.16.1.03a00010
Popper, Karl. 2002. The Logic of Scientific Discovery . New York: Routledge. (First German edition published 1935.)
Schenker, H. [1935] 2001. Free Composition (Der freie Satz) , trans. and ed. Ernst Oster. Hillsdale, NY: Pendragon.
Thagard, Paul. 1992. Conceptual Revolutions . Princeton: Princeton University Press. https://doi.org/10.1515/9780691186672

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Rethinking Topic Theory: An Essay on the Recent History of a Music Theory

Dylan principi.

KEYWORDS: topic theory, absolute music, hermeneutics, semiotics, history of theory

ABSTRACT: This essay gives a critical history of Anglophone topic theory as it evolved between the publication of Leonard Ratner’s Classic Music ( 1980 ) and The Oxford Handbook of Topic Theory ( Mirka 2014 ). Throughout this period, topic theory transformed from the identification of “characteristic figures” in eighteenth-century music into an analytical strategy for the intersubjective verification of correspondences between musical signifiers and extramusical meaning. Though Melanie Lowe ( Lowe 2007 ) upheld the intertextuality of topics as a way past music’s “flawed” opposition with the extramusical, the binary has exerted sustained influence even as topic theory has advanced beyond the eighteenth-century canon to encompass more repertoires and interpretive methodologies. And because the musical-extramusical opposition finds its roots in the nineteenth-century idea of absolute music, it turns out that aspects of present-day topic theory are symptomatic of a much older way of thinking that evidently still gatekeeps what counts as knowledge about music. Historicizing topic theory provides interfaces for reconsidering the mutually constitutive relationships among music, meaning, analysis, interpretation, power, and politics.

DOI: 10.30535/mto.30.1.9

1. Introduction

[1.1] In 2007 , Nicholas McKay published a historical account of topic theory confirming that theorists’ work on musical topics since 1980 amounted to a deliberate accumulation rather than a passing trend. (1) Yet sixteen years and numerous monographs later, the history of topic theory needs some retelling—or, as I argue, rethinking. In the time since McKay’s account, topics have far outflown their original purview, maintained a continuous presence on conference programs and in journal issues, and begun to drive progress in fast-growing areas of our discipline, like the interpretation of world music, ludomusicology, and the digital humanities.

[1.2] This essay participates in the history of music theory, specifically the recent history of Anglophone topic theory as it evolved between the publication of Leonard Ratner’s Classic Music ( 1980 ) and The Oxford Handbook of Topic Theory ( Mirka 2014 ). (2) By imposing a slight historical distance from the present, we can glimpse an intellectual heritage that has shaped the growth of topical analysis over the decade since. Fundamentally at issue is how topicality developed from a vague interpretive descriptor into a methodology that supposedly “allow[s] one to gain access to [music’s] meaning and expression in a way that can be intersubjectively verified” ( Mirka 2014 , 3). This invocation of verification and intersubjectivity suggests a shift away from theorizing about what topics could mean in favor of what they do mean. That is, our assertions about musical meaning have changed (grammatical) moods from the potential to the indicative. Retracing the evolution of topic theory is a first step toward understanding how we got out of interpreting and into verifying.

[1.3] The question of whether topic theory serves as a microcosm for the broader subfield of “music and meaning” is an important, connected thread—though not one that can be followed fully in the space of an essay. Nevertheless, the putative separability of music and meaning is a primary theme in topic theory’s story, and it connects music with language and ontology as much as with politics and power. For whatever (or whoever) plays with the distinction of music from meaning sets the definitions of both terms, acting ultimately as mediator and gatekeeper between the two. It turns out that the short yet dynamic history of topic theory is entwined with the trajectory of this much older problem, which should concern everyone with a stake in what music is allowed to mean.

2. Moving Beyond the Eighteenth Century

[2.1] According to McKay’s narrative, topic theory was born with Ratner’s 1980 book, Classic Music . Strikingly, only the first of the volume’s 24 chapters is devoted to musical topics. That lone chapter made few claims about topics’ origins or essences; instead, Classic Music offered an inventory of “characteristic figures,” rhythmic and textural patterns that seem to quilt together the music of the Baroque and Classic eras. From Ratner’s initial, bald observations, it seemed unlikely that topics would balloon into their own subfield of analytical discourse. Rather, it was Ratner’s students who saw topics’ unrealized value. Three years after Classic Music , Wye Allanbrook ( 1983 ) suggested in Rhythmic Gesture in Mozart that topics give us a window into the historical culture in question. By pointing out connections between instrumental music and opera, Allanbrook blazed a path between topics and meaning, even if her exposition resembled Ratner’s in concentrating on a list of topically relevant dances. It was not until a full decade later, in a short book about Mozart’s “Jupiter” Symphony, that Elaine Sisman ( 1993 ) drew upon eighteenth-century theories of rhetoric to propose a contemporary framework for addressing topics’ succession within musical works and their roles in performance. (3)

[2.2] These three books remind us that, whatever topic theory is today, it began its life within the study of late eighteenth-century music. And to preserve the reproducibility of topical analyses, the eighteenth century is where some theorists would like topics to stay. Though The Oxford Handbook of Topic Theory cemented topicality as a mainstream tool for the analysis of musical meaning, it did not aim to “summarize the state of art in the field” but rather to “[establish] it and [lay] foundations under its future development” by remaining pointedly “dedicated to eighteenth-century musical topics” ( 2014 , 43). Because the goal of the Oxford Handbooks series is to “offer authoritative and up-to-date surveys of original research in a particular subject area,” it seems a noteworthy choice to limit the topic theory Handbook to eighteenth-century music and omit the already vast body of research on topics in the music of later eras. (4) This choice is connected to Mirka’s reservation that “stylistic cross-references remain important factors in twentieth-century music, but the spectrum of such references and complexity of their sociocultural meanings exponentially increases” (47). Only in this light can we make sense of the argument that “the study of musical topics . . . has been wrought with discrepancies that have prevented it from displaying its full potential. The aim of this volume is to clear away these discrepancies in order to turn topic theory into an efficient tool of analysis and interpretation” (43). These crosscurrents in the volume’s introduction betray a dubious outlook on the analysis of topics in later repertoires—the very effort for which the Handbook purports to pave the way. Attempting to ensure the verifiability of topical analysis for any repertoire or era is an understandably daunting task, yet Mirka’s wording appears to oppose the challenge of interpreting non-Classic music to the ideal of verifiability. In response, the framing of the Handbook moves to shore up the integrity of topical analysis by fashioning a walled garden out of the halcyon eighteenth century.

[2.3] The trouble with this approach is that the topic theory cat is already out of the eighteenth-century bag. Instead, over the last two decades, theorists have found topics in seventeenth- ( López Cano 2003 ) and twentieth-century art music ( Frymoyer 2017 ; Johnson 2017 ); African, African-American ( Maxile 2008 ), Latin-, and South-American music ( Plesch 2009 ; Mendívil 2018 ; Lopéz Ruiz 2020 ); rock and roll ( Echard 2017 ); video game music ( Yee 2020 ; Lavengood and Williams 2023 ); film music ( Bourne 2021 ); and sound art ( Meikle 2020 ). In tandem with the range of repertoires subject to topical analysis, there has been a similar expansion of the kinds of musical properties that embody topicality, beginning originally with historical dance rhythms extending to iconic pictorialism and animal sounds ( Monelle 2006 ), harmonic schemata ( Byros 2014 ), key areas ( Galand 2014 ), instrumental techniques ( Monelle 2012 ), the sublime ( Allanbrook 2010 ), and even the act of performance ( Samuels 2011 ). Moreover, topic theory’s persistent presence on conference programs suggests that it must not be going away anytime soon. (5)

[2.4] From a certain point of view, these “discrepancies” seem to sabotage the rigor of topic theory. As the musical repertoires and signifiers of concern for topic theory grow in number, topicality becomes a harder term to pin down. Rather than anchoring a “responsible,” “transparent,” or auditable “framework” ( Sánchez-Kisielewska 2023 ), the identification of topics has been a Pandora’s box ever since it surpassed the eighteenth century. From yet another angle, the theory’s outward expansion might be seen as dissipation toward nothingness (as in Kramer 2016 , 189). In contrast, I believe a more optimistic interpretation of our present situation is possible. The glut of work on topics means that scholars have found topicality an exciting idea, one that can be quickly mobilized to communicate meaning in a variety of musical situations. Only by conceding the sheer utility of topic theory can we explain its rapid growth since McKay’s first accounting. In other words, we need to set aside suspicion and skepticism and accept that topic theory in its current state is neither out of control nor pointless.

3. The Semiotic Turn

[3.1] Topic theory changed significantly during what I term its “semiotic turn.” Leading up to this point, Ratner’s and Allanbrook’s topical taxonomies belonged to what Michel Foucault ( [1966] 1994 ) describes as a Classical episteme. (6) And because it was “necessary that the Classical theory of the sign should provide itself with . . . a general analysis of all forms of representation, from elementary sensation to the abstract and complex idea” (67), the first phase of topic theory set the stage for future theorists to deduce the mechanics of topical signification. (7) In the 1990s and 2000s, the work of Kofi Agawu ( 1991 , 2008a ), Robert Hatten ( 1994 , 2004 ), Raymond Monelle ( 2000 , 2006 ), and Michael Klein ( 2005 ) introduced the language of semiotics to the analysis of musical topics, shifting attention from charting out a “topical universe” ( Agawu 1991 , 30) toward resolving the means by which topic theory can be extended. Where Ratner and Allanbrook described topics by listing them, Agawu et al. offered generalized definitions of what a musical topic should be, definitions that are agnostic about genre or period. Their applications of topic theory to nineteenth-century music proved that semiotics had rendered topic theory limitlessly extensible, future-proof. By mingling music and semiotics, subsequent generations of analysts have found the resources they need to advance the frontiers of topic theory across geographical space and historical time. For these reasons, the pathbreaking works of Agawu, Hatten, and Monelle were beacons of progress in their time. Yet now, our advantage of historical distance can help us see the two-way tensions keeping topic theory hanging in the balance.

[3.2] First, while the repertoire in focus shifted forward in time, the semioticians tried to ground their claims by pushing the theoretical foundations of topicality backward. For example, Agawu ( 1991 , 26–30) traced the origins of topicality to a host of Mozart’s contemporaries, including Johann Georg Sulzer, Daniel Gottlob Türk, Johann Joachim Quantz, Heinrich Christoph Koch, Georg Joseph Vogler, Francesco Galeazzi, Charles Burney, William Crotch, François Henri Joseph Castil-Blaze, and Johann Friedrich Daube. The implication, which not all Agawu’s reviewers accepted ( Harrison 1992 ), is that the idea of topic was “around” when Mozart was composing, even if it went by another name. If true, this observation would give topics poietic credibility, since composers of Classic music may have made a conscious decision to stitch them into their works. (8) On the esthesic side, Hatten ( 1994 , 3) saw topical semiotics as amounting to “the historical reconstruction of an interpretive competency adequate to the understanding of Beethoven’s works in his time.” So regardless of whether Classic music’s topics were put there by composers or perceived by audiences through a process of cultural entrainment, the 1990s projected the beginnings of topic theory back in time—materialized its history—even as the target repertoire moved forward.

[3.3] Second, semioticians found themselves caught between topic theory’s expansive potential and the need to add constraints in order to say something analytically defensible. Agawu sights this uncertainty with a clear eye:

Topical classes are so broad that they seem to admit practically everything, or nothing. . . . The advantage of this flexibility is to allow many more features of the music to be described . . . while its disadvantage is to encourage discussion at a very primitive level of reference—reference without consequence. ( 1991 , 37–38)

Although Agawu does not elaborate on the “consequences” of liberality, they are not difficult to imagine. What happens to meaning when everything can mean anything? Hatten ( 1994 , 244–45), borrowing a term from Umberto Eco, calls this risk of overabundance “unlimited semiosis.” Against a surfeit of signification, the practical desire to say something demonstrably meaningful invites the standard of intersubjectivity—a substitute for verifiability—into the mix. Hatten writes, “I have purposefully avoided the further reaches of individual, subjective interpretations, instead reconstructing the intersubjective (shared, or shareable) interpretations of competent listeners in a style” (244–45). In topical semiotics, the practice of reconstruction and the concept of competency hedge against subjectivity, the perceived menace behind topic theory’s dangerous (read: exciting) flexibility.

[3.4] The final tension, which spurs my interest in topic theory, concerns the binary between music and the extramusical—a binary Melanie Lowe ( 2007 , 11) has called “the greatest obstacle to new considerations of musical meaning.” In Playing with Signs , Agawu’s table of contents divides the text into two halves, with voice-leading analysis described as “introversive” and topics relegated to the “extroversive” half of the book. Even though Agawu ( 1991 , 133) ultimately admits that the introversive-extroversive binary is a “false dichotomy” put in service of analytical experimentation, the “play” of correspondences between these two distinct categories of semiosis, internal structure and external expression, gives Playing with Signs its name.

[3.5] Such binaries are also what make Hatten’s theory so readily deployable. Musical Meaning in Beethoven ( 1994 ) places greatest emphasis on binaries at the local level of markedness (between major and minor triads, for example), but these two-part distinctions gyrate upward—through the principle of “markedness assimilation”—into ever larger, more important oppositions: token versus type, thematic versus strategic, work versus style, expression versus structure, and even hermeneutics versus analysis. (9) This aspect of Musical Meaning in Beethoven is what led Nicholas Cook ( 1996 , 112) to describe Hatten, fairly or not, as a “closet absolutist.” True absolutism is epitomized by Eduard Hanslick’s ([1891] 1986 , 11) statement that music “can depict not love but only such motion as can occur in connection with love or any other affect, which however is merely incidental to that affect.” In contrast, Hatten ( 1994 , 31–36) takes a nuanced stance toward Hanslick. While he praises Hanslick’s criticism of “poorly formulated notions of expression,” Hatten distances himself from a conception of music as pure or autonomous, affirming instead that “if a group of listeners clearly value expressive content in a work of music, such content is not external to the musical experience” (235). Therefore, Hatten cannot be called an absolutist in any traditional sense because his version of musical ontology admits cultural convention alongside “music itself.”

[3.6] At the same time, Musical Meaning in Beethoven draws inspiration from Peter Kivy, demonstrating how Kivy’s “contour theory” is compatible with multiple pillars of semiotics according to Saussure and Peirce. Kivy is a self-professed follower of Hanslick, (10) and this ultimately expresses itself in Hatten’s “translation” of semiotics into a theory of musical interpretation whose emphasis on correlation hints at an uncannily familiar dichotomy: “A musical entity (patterned sound serving as a sign vehicle) correlates with a cultural unit that suggests further interpretations as mediated by the ‘ground’ of style , and the further ‘ground’ of the emerging strategy of a particular work” (243, emphasis original). In 1994 , Musical Meaning in Beethoven constructed a canon that ran through Hanslick, Kivy, and Hatten. And while their philosophies are not reducible to one another, their similar binary structures nevertheless assimilate them into a family of resemblance. The bid to suppress the subjective in favor of the intersubjective harkens to absolutism—even if it pursues a more relativist agenda—by treating the analysis of topics as the analysis of the musical object itself, only the “musical object” is expanded in a historicist way to include the reified stylistic competencies of a bygone audience.

[3.7] Monelle surpasses other theorists in his attention to the dichotomy between music and the extramusical. In The Sense of Music , Monelle ( 2000 , 149–50) tries to get around the dichotomy by reimagining music as “a text, a fortiori, in which dialectics”—that is, “passing backward and forward across the line” between music’s inside and outside—“has been overcome.” (11) While this reasoning leads him to the radical argument that “the text is whatever criticism observes , whatever analysis expounds” (151), Monelle pulls back, instead reaching the irreconcilable conclusion that “we shall continue to march with Eco and Hatten in the ranks of dialectic logic. But finally, dialectics will be overcome” (151–52). Like topic theorists before him, then, Monelle glimpses the unknown limits of signification and then backpedals to dialectics for the sake of saying something verifiable. And though he later sets out to reproach Ratner, Agawu, and Hatten for paying too much attention to the analytical signifiers of topicality, Monelle’s ( 2006 ) attempt to balance the scale by reconstructing topics’ cultural significations—with astonishingly detailed histories of galloping horses and hunting horns—ends up reinforcing the music-and-meaning binary from its other side.

4. Musical versus Extramusical

[4.1] We might simply assume that binaries come with the territory of semiotics. However, the history of binaristic thinking in music far predates topic theory’s (and music theory’s) semiotic turn. In a 1987 volume featuring several prominent New Musicologists, Janet Wolff proclaimed that the idea of aesthetic autonomy was already “under attack” (1); likewise, she identified the binary between “music itself” and the extramusical as the dividing line between her co-contributors on one side, and on the other, “certain academic disciplines” that deal with music apart from “the social, the political and the everyday” (8–9). It is no coincidence that topic theory had its semiotic turn just as the New Musicology moment reached its point of highest contention in the 1990s and 2000s. Agawu, Hatten, and Monelle grappled with dialectics because their work aimed to mediate or transcend the music-and-meaning opposition that the New Musicologists had accused theorists of cleaving. (12) If anything, the harshness of Hatten’s reviewers attests to his success in occupying a middle position, with Agawu ( 1996 , 151) lumping Hatten in with the hermeneutically inclined New Musicologists and Arnold Whittall ( 1996 , 118) dismissing Hatten’s work as “‘old’ musicology by other means.”

[4.2] Topic theory may have extended an olive branch between theorists and musicologists, but our search for the beginnings of musical dualism has not nearly hit bedrock. Patrick McCreless ( 1997 , 42) has suggested that the New Musicology gave music theorists a taste of their own medicine, denouncing them for the same positivism that the fledgling SMT had decried in professional musicology mere decades before. Then again, the SMT-AMS split struck Leo Treitler ( 1989 ) as resembling an even earlier feud between traditional musicology and advocates for “criticism.” As early as 1967 , Treitler argued that this recurring kind of disciplinary spat takes root in the illusory distinction between objective (musical) fact and subjective (extramusical) knowledge. Realizing that the history of modern music studies is saturated with binary-shaped disputes gives rise to the queasy intuition that the twentieth century’s problems might just be the tip of an iceberg.

[4.3] According to Carl Dahlhaus ( 1989 ), music’s split with the extramusical is the telltale sign of the nineteenth-century idea of absolute music. In his book on the subject, he writes, “When even Hanslick’s opponents called the text in vocal music an ‘extramusical’ influence, the battle against ‘formalism’ was lost even before it began, for Hanslick had already prevailed in the vocabulary with which they opposed him” (11). Following the logic that Dahlhaus laid out, Daniel Chua ( 1999 ), Roger Scruton ( 2001 ), and Sarah Collins ( 2020 ) have helped redefine absolute music from a repertoire or aesthetic phenomenon locked away in the Romantic period to a way of thinking that has been reasoned into existence at countless instants between antiquity and the present.

[4.4] Whenever the notion “extramusical” comes into view, the idea of absolute music is pulling strings backstage. The reason this should concern us is that the extramusical is a notoriously slippery (and therefore powerful) category, whose muzzle has been pointed at countless musical features, not limited to lyrics, narrative, emotion, subjectivity, historical context, and “meaning.” Mark Evan Bonds ( 2014 ) has shown how music’s divorces from each of these partners have constructed the appearance of its expressive, formal, aesthetic, material, ethical, and epistemological autonomy. In short, the boundary between music and the extramusical—the same boundary straddled by topic theory—is a mechanism, a power tool, that controls what music is by apophatically asserting what music is not. From this perspective, the history of topic theory is symptomatic of a way of thinking that spans centuries: an indication that “we have never been post-modern” ( Latour 1993 ).

[4.5] While Lowe ( 2007 , 14) considered the intertextual nature of topics reason enough to extricate Classic music from its “tired,” “flawed,” and “oxymoronic” binary with the extramusical, the tension between lawless signification and rigorous analysis—overlaid with the distinction between “music itself” and everything else—has had the opposite effect for topic theory. (13) Desire for verification arises only when we imagine that our claims about musical meaning are extramusical at best and solipsistic at worst, and that they owe justification to a metaphysical musical object. (14) Within a binary worldview, the only imaginable alternatives to verification are either an anarchical “everything means everything” or a nihilistic “everything means nothing.” Thus reduced to a technology of mediation or translation, topic theory is strained under the pressure of bridging the gap between music and the extramusical. And as a result, topical analysis risks resembling an activity akin to gardening: limited to pruning the trellis of already known topics and hedging their prescribed meanings, or carefully planting a new topic. In either case, new growths are eyed with suspicion until they take root and bear fruit.

5. Philosophical Hermeneutics

[5.1] If topic theory conjures an old way of thinking that still haunts us, then it can also illuminate a forward-looking paradigm. The rapid expansion of topic theory to new avenues of musical thought has created a surplus of meaning too vast to audit. Likewise, applications of topic theory to an increasing number of styles, periods, and geographies of music have decentered our hegemonic conception of what “music” is, and, by extension, of what the “extramusical” might be. In the absence of systematic verification, wrought by this productive new uncertainty, the impulse to interpret must take over. (15)

[5.2] That said, it is a mistake to make semiotics out to be the foil of hermeneutics. Doing so presents a false choice, pretending that semiotics and hermeneutics are separate (or even complementary) activities. On the contrary, semiotics is but one variety of, one framework for musical interpretation. In his 2015 book, Michael Klein warned against the temptation to criticize semiotics by pitting it against hermeneutics:

Semiotics as it is practiced today too often falls into the formation of neologisms and taxonomies that end up telling us what we already know. The choice, though, is not really between semiotics and hermeneutics but between hermeneutics and a desire to maintain a mystified vision of music as a real . . . experience, whose alluring fullness deserves our attention. (120)

Klein’s target is not “semiotics as it is practiced today” but rather the inclination toward mystification that can overcast any interpretive strategy. Like Klein, I address my critique to the presupposition of music as a universal experience, regardless of whether this expresses itself in a particular methodology. Again seeking the admirable middle ground, Hatten ( 2020 , 92) recently wrote that approaches to musical meaning can be simultaneously “semiotically-grounded yet hermeneutically speculative.” It is not semiotics per se that warrants rethinking but rather the desire for groundedness. In contrast, semiotics (like any variety of hermeneutics) is always speculative, especially when we try to ground our claims by reconstructing the composer’s intentions or the habitus of historical listeners. (16) Therefore, just as we must not conflate semiotics with one of its possible underlying attitudes, we must not reduce hermeneutics to a practice that would oppose or supplant semiotics or analysis. Rather, the “universal claim of hermeneutics” ( Grondin 1994 , 19) demands that we cultivate epistemological models of interpretation that aspire to be inclusive of all modes of understanding. That is why my use of the term “hermeneutics” in this case refers not to any preferred technique of music analysis but to a conception of musical knowledge tempered and informed by the intellectual tradition of philosophical hermeneutics.

[5.3] The philosopher John Caputo shows us that, like music, philosophical hermeneutics has its own dichotomy to work out:

In the ancient story of Hermes itself, we can divine the difference between two interpretations of interpretation . The one you follow depends on your interpretation. Hermes the Straight Man, favoured by the mainstream, the theologians, the more tradition-bound, or Hermes the Trickster, favoured by the marginal, the outliers. . . . The one figure is more hierarchical, conservative and subservient to the gods on high, representing a kind of law-and-order, top-down hermeneutics. The other is a god of the people, a voice of the demos , a divine disturber of the peace who made the higher-ups nervous because he would not conform to the established order; in short, a more radical hermeneutical type intent on shaking up the system and making unpredictable things happen. ( 2018 , 16–17, emphasis original) (17)

Within Caputo’s description, we might recognize two kinds of topic theory: On the one hand, an archaeological theory that treats topics as eighteenth-century artifacts, documenting importation, listening competencies, and associated cultural units at synchronic points in history. And on the other hand, an adventurous theory whose expansiveness threatens to mar the topical canon with discrepancies. Fortunately, I do not suggest that we choose between these two caricatures, and neither does Caputo. Philosophical hermeneutics helps navigate between the two false extremes without enfolding them both into a new dialectic or Hegelian synthesis (140).

6. Takeaways

[6.1] The goals of this critical history are twofold. First, by treating the history of topic theory as a case study, I am arguing that the concept of absolute music still functions as a regulative ideal or even a constitutive principle in gatekeeping musical meaning. Now more than ever, as music theorists scrutinize gatekeeping in all its guises, it is worth tugging the thread of absolute music to see what else is entangled in its Borromean knot. How many discourses can stand if the imaginary distinction between “music itself” and the extramusical falls?

[6.2] Second, I want to point out a promising direction for future scholarship on musical meaning. Applying philosophical hermeneutics to music analysis is not a new project (for example, see Kramer 2011 and 2020 ). However, the dualistic state of affairs in topic theory suggests that it is an unfinished or under-attempted project, and taking it up offers a path away from verification and back to interpretation. Still, it stands to ask how we can justify our analytical claims without a narrow conception of “music,” sometimes disguised as the reconstruction of historical listening competencies or cultural conventions. If I demur to give an answer, it is because hermeneutics shows us that there is no one answer . In interpreting musical topics, we are not faced with a choice between rule-bound reconstruction and reckless abandon (or analysis and its other) as the course of topic theory may have led us to believe. Instead, reconciling our perspective on musical meaning with philosophical hermeneutics entails recognizing that an interpretation is never certain but only one possibility among many.

[6.3] Rather than merely qualify strong claims about music with an afterthought to polysemy, philosophical hermeneutics follows Friedrich Schleiermacher in taking the fundamental uncertainty of knowledge as its starting place. (18) In this way, applying a hermeneutic worldview to the study of music might resemble a kind of inclusive humility, which acknowledges that music is not an entity separable from its meanings and, consequently, no musical interpretation is ever all-knowing or final (or verifiable). Such a worldview must look outward from topic theory to confront music’s ostensible relationships with affect, performativity, and ineffability. (19) However, as topics continue their decades-long advance from eighteenth-century music to new repertoire and methodologies, they could become a productive vehicle for examining our deepest held beliefs about musical meaning. In lieu of any prescriptions or conclusions, this brief history of topic theory offers instead an invitation to diagnose cravings for certainty wherever they arise. Our age of rethinking enjoins us to realize a music analysis without “music” (or its negative image, the extramusical). Until then, we are still waiting for “the musicology of the future.” (20)

Dylan Principi Wesleyan University Music Department 297 Washington Terrace Middletown, CT 06459 [email protected]

Works Cited

Agawu, V. Kofi. 1991. Playing with Signs: A Semiotic Interpretation of Classic Music . Princeton University Press. https://doi.org/10.1515/9781400861835 .

————— . 1996. “Review of Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation.” Current Musicology 60–61: 147–61.

————— . 2008a. Music as Discourse: Semiotic Adventures in Romantic Music . Oxford University Press. https://doi.org/10.1093/acprof:oso/9780195370249.001.0001 .

————— . 2008b. “Topic Theory: Achievement, Critique, Prospects.” In Passagen/IMS Kongress Zürich 2007: fünf Hauptvorträge , ed. Laurenz Lütteken and Hans-Joachim Hinrichsen, 38–69. Bärenreiter.

Allanbrook, Wye Jamison. 1983. Rhythmic Gesture in Mozart: Le Nozze Di Figaro and Don Giovanni . The University of Chicago Press. https://doi.org/10.7208/chicago/9780226437712.001.0001 .

————— . 2010. “Is the Sublime a Musical Topos?” Eighteenth Century Music 7 (2): 263–79. https://doi.org/10.1017/S1478570610000060 .

Bonds, Mark Evan. 2014. Absolute Music: The History of an Idea . Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199343638.001.0001 .

Bourne, Janet. 2021. “Hearing Film Music Topics Outside the Movie Theatre: Listening Cinematically to Pastorals.” In The Oxford Handbook of Cinematic Listening , ed. Carlo Cenciarelli, 549–74. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190853617.013.15 .

Byros, Vasili. 2014. “Topics and Harmonic Schemata.” In The Oxford Handbook of Topic Theory , ed. Danuta Mirka, 381–414. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199841578.013.0015 .

Caputo, John. 2018. Hermeneutics: Facts and Interpretation in the Age of Information . Pelican.

Chua, Daniel K. L. 1999. Absolute Music and the Construction of Meaning . Cambridge University Press. https://doi.org/10.1017/CBO9780511481697 .

Collins, Sarah. 2020. “Absolute Music.” In The Oxford Handbook of Western Music and Philosophy , ed. Tomás McAuley, Nanette Nielsen, Jerrold Levinson, and Ariana Phillips-Hutton, 629–51. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199367313.013.21 .

Cook, Nicholas. 1996. “Review-Essay: Putting the Meaning Back into Music, or Semiotics Revisited.” Music Theory Spectrum 18 (1): 106–23. https://doi.org/10.2307/745847 .

Dahlhaus, Carl. 1989. The Idea of Absolute Music . The University of Chicago Press.

Dickensheets, Janice. 2012. “The Topical Vocabulary of the Nineteenth Century.” Journal of Musicological Research 31 (2–3): 97–137. https://doi.org/10.1080/01411896.2012.682887 .

Echard, William. 2017. Psychedelic Popular Music: A History through Musical Topic Theory . Indiana University Press. https://doi.org/10.2307/j.ctt1zxxzgx .

Foucault, Michel. [1966] 1994. The Order of Things: An Archaeology of the Human Sciences . Vintage books edition. Vintage Books.

Frymoyer, Johanna. 2017. “The Musical Topic in the Twentieth Century: A Case Study of Schoenberg’s Ironic Waltzes.” Music Theory Spectrum 39 (1): 83–108. https://doi.org/10.1093/mts/mtx004 .

Galand, Joel. 2014. “Topics and Tonal Processes.” In The Oxford Handbook of Topic Theory , ed. Danuta Mirka, 453–73. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199841578.013.0017 .

Goehr, Lydia. 1994. The Imaginary Museum of Musical Works . Oxford University Press. https://doi.org/10.1093/0198235410.001.0001 .

Grant, Roger Mathew. 2020. Peculiar Attunements: How Affect Theory Turned Musical . Fordham University Press. https://doi.org/10.5422/fordham/9780823288069.001.0001 .

————— . 1994. Introduction to Philosophical Hermeneutics . Translated by Joel Weinsheimer. Yale University Press.

Hanslick, Eduard. 1986. On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music . Translated by Geoffrey Payzant. Hackett.

Harrison, Daniel. 1992. “Review-Article of Playing with Signs: A Semiotic Interpretation of Classic Music by V. Kofi Agawu.” Intégral 6: 136–50.

Hatten, Robert. 1994. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation . Indiana University Press.

————— . 2004. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert . Indiana University Press.

————— . 2020. “Fundamental Concepts for the Semiotic Interpretation of Music: A Personal Journey.” In The Routledge Handbook of Musical Signification , ed. Esti Sheinberg and William P. Dougherty, 89–98. Routledge. https://doi.org/10.4324/9781351237536-8 .

Johnson, Thomas. 2017. “Tonality as Topic: Opening A World of Analysis for Early Twentieth-Century Modernist Music.” Music Theory Online 23 (4). https://doi.org/10.30535/mto.23.4.7 .

Kivy, Peter. 2000. “‘Absolute Music’ and the ‘New Musicology.’” In Musicology and Sister Disciplines: Past, Present, Future: Proceedings of the 16th International Congress of the International Musicological Society, London, 1997 , ed. David Greer, Ian Rumbold, and Jonathan King, 378–88. Oxford University Press. https://doi.org/10.1093/oso/9780198167341.003.0040 .

Klein, Michael. 2005. Intertextuality in Western Art Music . Indiana University Press.

————— . 2015. Music and the Crises of the Modern Subject . Indiana University Press.

Kramer, Lawrence. 1992. “The Musicology of the Future.” Repercussions 1 (1): 5–18.

————— . 2011. “Hermeneutics.” In Interpreting Music , 1–19. University of California Press. https://doi.org/10.1525/california/9780520267053.003.0001 .

————— . 2016. The Thought of Music . University of California Press.

————— . 2020. “Hermeneutics.” In The Oxford Handbook of Western Music and Philosophy , ed. Tomás McAuley, Nanette Nielsen, Jerrold Levinson, and Ariana Phillips-Hutton, 394–402. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199367313.013.16 .

Latour, Bruno. 1993. We Have Never Been Modern . Harvard University Press.

Lavengood, Megan, and Evan Williams. 2023. “The Common Cold: Using Computational Musicology to Define the Winter Topic in Video Game Music.” Music Theory Online 29 (1). https://doi.org/10.30535/mto.29.1.2 .

López Cano, Rubén. 2003. “From Rhetoric to Semiotic: Intersemiotic Forces, Topics and Topicalization on 17th Century Art Song.” In Musical Semiotics Revisited , ed. Eero Tarasti, 422–39. International Semiotics Institute.

Lopéz Ruiz, Luis. 2020. “Un Modelo Analítico Para La Música Vocal Religiosa Hispana: Estructura y Expresión En El Te Deum (1814) de José Lidón.” Diagonal: An Ibero-American Music Review 4 (2): 90–120. https://doi.org/10.5070/D84247243 .

Lowe, Melanie. 2007. Pleasure and Meaning in the Classical Symphony . Indiana University Press.

Maxile, Horace. 2008. “Signs, Symphonies, Signifyin(G): African-American Cultural Topics as Analytical Approach to the Music of Black Composers.” Black Music Research Journal 28 (1): 123–38.

McCreless, Patrick. 1997. “Rethinking Contemporary Music Theory.” In Keeping Score: Music, Disciplinarity, Culture , ed. Anahid Kassabian, David Schwarz, and Lawrence Siegel, 13–53. University Press of Virginia.

McKay, Nicholas. 2007. “On Topics Today.” Zeitschrift Der Gesellschaft Für Musiktheorie 4 (1–2): 159–83. https://doi.org/10.31751/251 .

Meikle, George. 2020. “ScreenPlay: A Topic-Theory-Inspired Interactive System.” Organised Sound 25 (1): 89–105. https://doi.org/10.1017/S1355771819000499 .

Mendívil, Julio. 2018. “Minor Mode and the Andes: The Pentatonic Scale as Topic and the Musical Representation of Peru.” In Studies on a Global History of Music: A Balzan Musicology Project , ed. Reinhard Strohm, 380–94. SOAS Musicology. Routledge. https://doi.org/10.4324/9781315163970-18 .

Mirka, Danuta, ed. 2014. The Oxford Handbook of Topic Theory . Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199841578.001.0001 .

Monelle, Raymond. 2000. The Sense of Music: Semiotic Essays . Princeton University Press.

————— . 2006. The Musical Topic: Hunt, Military and Pastoral . Indiana University Press.

————— . 2012. “The Orchestral String Portamento as Expressive Topic.” Journal of Musicological Research 31 (2–3): 138–46. https://doi.org/10.1080/01411896.2012.680878 .

Nattiez, Jean Jacques. 1990. Music and Discourse: Toward a Semiology of Music Translated by Carolyn Abbate. Princeton University Press.

Plesch, Melanie. 2009. “The Topos of the Guitar in Late Nineteenth- and Early Twentieth-Century Argentina.” The Musical Quarterly 92 (3–4): 242–78. https://doi.org/10.1093/musqtl/gdp016 .

Principi, Dylan. 2022. “Critiquing Musical Ineffabilism: Rereading Kant’s ‘Analytic of the Beautiful.’” 19th-Century Music 45 (3): 204–19. https://doi.org/10.1525/ncm.2022.45.3.204 .

Ratner, Leonard. 1980. Classic Music: Expression, Form, and Style . Schirmer Books.

Samuels, Robert. 2011. “The Act of Performance as Mahlerian Topic.” Word and Music Studies 12: 35–52. https://doi.org/10.1163/9789401207454_004 .

Sánchez-Kisielewska, Olga. 2023. “On Figaro’s Alleged Minuet and Some Challenges and Opportunities of Topic Theory.” Music Theory Spectrum 45 (1): 89–99. https://doi.org/10.1093/mts/mtac027 .

Scruton, Roger. 2001. “Absolute Music.” In Grove Music Online . Oxford University Press. https://doi.org/10.1093/gmo/9781561592630.article.00069 .

Sisman, Elaine. 1993. Mozart: The “Jupiter” Symphony, No. 41 in C Major K. 551 . Cambridge University Press. https://doi.org/10.1017/CBO9780511613418 .

Treitler, Leo. 1967. “On Historical Criticism.” The Musical Quarterly 53 (2): 188–205. https://doi.org/10.1093/mq/LIII.2.188 .

————— . 1989. “The Power of Positivist Thinking Contemplating Music: Challenges to Musicology Joseph Kerman.” Journal of the American Musicological Society 42 (2): 375–402. https://doi.org/10.2307/831660 .

Whittall, Arnold. 1996. “Review of Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation.” Journal of the Royal Musical Association 121 (1): 116–24. https://doi.org/10.1093/jrma/121.1.116 .

Wolff, Janet. 1987. “The Ideology of Autonomous Art.” In Music and Society: The Politics of Composition, Performance, and Reception , ed. Richard D. Leppert and Susan McClary, 1–13. Cambridge University Press.

Yee, Thomas. 2020. “Battle Hymn of the God-Slayers: Troping Rock and Sacred Music Topics in Xenoblade Chronicles.” Journal of Sound and Music in Games 1 (1): 2–19. https://doi.org/10.1525/jsmg.2020.1.1.2 .

1. Shortly after McKay’s article came out, Kofi Agawu ( 2008b ) published an equally rich historical account of topic theory notable for its extensive bibliography. Return to text

2. The analysis of topics has hardly resembled a singular effort, much less a unified theory. However, Roger Grant’s ( 2020 , 29) recent history of “affect theory” lends credence to speaking of a “topic theory,” since both traditions are predicated on “an unstable consensus among theorists that music could employ formal conventions in order to act as a sign and evoke specific” listening responses. Return to text

3. McKay organizes topic theorists into generations, the first of which includes Ratner and his two students, Allanbrook and V. Kofi Agawu. Instead, as will become plain, I organize topic theories into epistemic regimes according to the repertoire they address and the methodologies they follow. Even though Sisman’s book was published after Agawu’s ( 1991 ) Playing with Signs , it belongs to an earlier regime because it deals strictly with eighteenth-century music and is unconcerned with semiotics, like the work of Ratner and Allanbrook. McKay makes no mention of Sisman’s book. Return to text

4. With the exception of Julian Horton’s final chapter, The Oxford Handbook makes little reference to the vast body of preexisting research on topics in nineteenth-century music by Kofi Agawu ( 2008a ), Robert Hatten ( 1994 and 2004 ), Raymond Monelle ( 2000 and 2006 ) and Janice Dickensheets ( 2012 ). Return to text

5. The 2022 SMT/AMS/SEM conference in New Orleans featured two sessions and one interest group meeting on topics, and the Universidad de Valladolid recently hosted a three-day conference on topics featuring forty-five speakers. Return to text

6. According to Foucault ( [1966] 1994 , 58), the Classical episteme emerged with a growing awareness of the arbitrariness of signs. In this paradigm, it was no longer the job of knowledge “to dig out” meaning from “places where it may be hidden” but rather to map out the limitlessness of signification in a way ordered such that it can be manipulated by probability, analysis, and calculation (63)—modes of knowledge foundational to a new age of natural sciences. Taxonomy is the method that brings calculable order to uncertainty by categorizing natural phenomena according to their seemingly most elementary identities and differences across a continuous conceptual space (74). Moreover, because the Classical way of thinking assumes a likeness between representation and the represented, the mastery of artificial signification equates with the mastery of meaning (67). Thus, taxonomy doubles with power, guiding the knower to put the world of things in order by triangulating historical genesis with the judgment of difference ( mathesis ) (74). Return to text

7. Notably, Foucault ( 1994 , 67) links his critique of the Classical episteme with semiology, arguing that Ferdinand de Saussure “was in fact rediscovering the Classical condition for conceiving of the binary nature of the sign.” Return to text

8. According to Jean-Jacques Nattiez ( 1990 , 17), the semiological model of musical communication has a tripartite structure. Poiesis describes the relationship between the composer (“producer”) and the musical work (“trace”), while esthesis names the relationship between the musical work and the listener or interpreter (“receiver”). Return to text

9. In Hatten’s ( 1994 , 245) own words: “My interpretive analyses have demonstrated an ongoing semiosis, by interpreting correlations in terms of other correlations, overarching expressive genres, thematic markedness, or troping.” Return to text

10. Kivy ( 2000 , 387) states that “listening to music as pure sonic structure, in complete ignorance of any content interpretation of what one is listening to, is a fact of musical life.” After describing a hypothetical character who listens to music in this way, Kivy writes: “I might have called her Hanslick, Schenker, or Kivy, for that matter” (386). Return to text

11. Monelle ( 2000 , 149) makes clear that his use of the term “overcoming” is a translation of Hegel’s notion of Aufhebung , confirming his view of the musical text as a positive synthesis (or sublation) of the binary between “[musical] signifier and [extramusical] signified.” But Monelle appears to fall prey to his own translation, treating Aufhebung as the “overcoming of dialectics” rather than a part of dialectics itself, as Hegel originally theorized it. Monelle then associates the “overcoming of dialectics” with Jacques Derrida, who objected to dialects on the very grounds of Aufhebung . Return to text

12. For example, Kramer ( 1992 , 3) advocated for a poststructuralist approach to musical interpretation that rejects “both a formalism that treats works of art as self-sufficient, trans-historical wholes”—referring to music analysis—“and a historicism that treats works of art as manifestations of a stable, determinate context.” Return to text

13. Though I have focused on offering a history of topic theory leading to the publication of The Oxford Handbook , it is worth noting that the ideas of verifiability and extramusicality still hold currency for present-day scholarship. For example, in an article innovatively combining topical analysis with videogame music and data visualization, Lavengood and Williams ( 2023 ) confront the extramusical in their very first sentence: “Music is not a language per se, but given the right context, music can reliably communicate extramusical qualities to its listeners.” Whether or not the introduction of semiotics to topical analysis intended to emphasize reliable correlations between music per se and the extramusical , this has been one of its undeniable side effects. Return to text

14. Lydia Goehr’s ( 1994 ) “work-concept” is one such metaphysical musical object. Return to text

15. This same impulse is likely what compelled Klein’s ( 2005 ) topic theory away from the binaristic baggage of semiotics and toward intertextuality: a term that contents itself with correspondences among texts rather than tenuous correlations between texts and the extra-textual. Return to text

16. One reviewer of Agawu’s Playing with Signs wrote, “ Playing with Signs is not, as the author hoped, an investigation of how this music ‘meant’ to an audience of the time, but an exposition of how it ‘means’ to us who have knowledge of the semiotic system” ( Harrison 1992 , 149). Return to text

17. In this passage, Caputo uses the allegory of Hermes to illustrate the two kinds of hermeneutics originally distinguished by Jacques Derrida. Caputo is known for advocating his own brand of “radical” hermeneutics (and later “weak theology”), which reconciles Derrida’s deconstructive thought with the tradition of thought that includes Hans-Georg Gadamer and Martin Heidegger. Return to text

18. “Deeply influenced by the Romantic foundations laid by [Friedrich] Schlegel, Schleiermacher (1768–1834) undertook to incorporate the subject’s fundamental uncertainty into a universal art of understanding” ( Grondin 1994 , 67). Schleiermacher is considered the progenitor of modern hermeneutics. Return to text

19. Principi ( 2022 , 208) takes a hermeneutic perspective to problematize the idea of ineffability as an explanation for music’s ability to make meaning. Return to text

20. The title phrase of Kramer 1992 . Return to text

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Music Essay Topics: Great Ideas for Your Academic Papers

Happy african man smiling listening to music in headphones. White background. Closed eyes.

If you have to write an essay on music, you can focus on various subjects, such as the works of a certain composer, the historical development of music, ethnomusicology, or music theory.

In case you are looking for great musical essay topics, you should read this article.

Focusing on History and Culture

Students studying the history of music and its role in the cultural development of society can use the following questions and prompts as essay topics:

Cultural origins of jazz and its development in the nineteenth century.
What are the major musical innovations introduced during the Baroque period?
The main stylistic peculiarities of Romantic music. Refer to the works of composers who worked during this period.
Modern musicologists draw distinctions between “high culture” and “low culture”. How can these terms be applied to the music of the twenty-first century?
What is the definition of popular music? When did this term emerge and how has its meaning changed in time?
How can the term “folk music” be defined? Has the meaning of this concept changed in the course of the twentieth century?
Can music be used as a means of propaganda? If yes, what are some examples of such usage?

Evolution of Genres and Forms

The development of a musical genre or form can be a good subject of an academic paper. People needing great musical essay topics may choose one of these questions:

What are the distinctive features of a fugue? What are the differences between fugues created by Baroque composers such as Bach, and fugues composed in the twentieth century? How has this musical form evolved in time?
What are the origins of opera? How did this art form come into prominence?
What are the key characteristics of space rock? Who helped to crystallize this genre?
How does hip hop music of the seventies differ from modern-day hip-hop?
Symphonic music and its evolution in the course of the nineteenth century.
Sonata during Classical and Romantic periods.
Richard Wagner’s revolution of opera.
How did Niccolo Paganini change violin-playing techniques?

Theory and Education

People looking for an excellent musical essay topic should pay attention to disciplines such as music theory. Moreover, music education can also be an interesting subject for your paper. Here are some examples that you may consider:

What is harmony? What kind of harmonic structures emerged in the twentieth century?
What is the use of set theory by musicologists? Does musical set theory resemble mathematical set theory?
What is Schenkerian analysis? What are its major objectives?
How can elementary group theory be used by musicologists?
The importance of music theory for composers and performers.
At what age should music education start?
What is rote learning? How can this method be applied in music education?
What are the therapeutic effects of music? How can educators use music in the classroom?
What are the main principles of the Kodaly method? What are the main duties of a teacher who uses this approach?

How should a student prepare for the performance of a musical piece?

Hopefully, you will be able to use one of these topics for musical essay. Each of them can be really thought-provoking and interesting.

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Music Argumentative Essay Topics: 25+ Ideas for Inspiration

by Antony W

April 21, 2023

Music is no doubt the best go-to stress buster for all of us. No wonder if you look around you, you’ll see people listening to music from all kinds of music devices you can name.

From Mp3 players and smartphones to PA systems and car stereos, the world around you is no doubt almost fully musical in form.

With news lyrics, celebrity gossips, artists, and new musical hits appearing on YouTube, Sound Cloud, and Spotify every day, there’s no limit to the number of argumentative essay topics on music.

From Robert Matthew Van Winkle fast rap to Dax hip-hop tunes, finding the right essay topic to explore just got easier. In this post, we give you a list of 30+ argumentative topics from which you can choose an appealing title to give your essay a fresh, breathtaking spin.

Music Argumentative Essay Topics

The following is a list of 30+ music argumentative essay topics that you can consider if you have no idea where to start – or if you need a title to start working on right away:

Is pop culture an evergreen vogue or a temporary fad?
Can we term fusion music as actual music?
White rappers are giving a bad name to the rap music genre
Pop music is worthy enough for our ears than rap music
Jazz music is dying out
Can we use music as treatment for mental health disorder?
Music influencers are a waste of time
People should not allow the playing of music in the realm of politics and political campaign
Digital music formats will completely wipe out physical copies from distribution
It’s impossible to enjoy music without understanding the lyrics
Metal music has a very bad influence on people’s behavior
EMD is pure noise, not music
One doesn’t need to have musical training to write lyrics and sing as natural talent is enough
Should School students should study music instead of learning how to dance
Is music an effective means of drawing in potential customers to a new product?
Music has the power to increase an individual’s level of productivity
Music isn’t as addictive as movies and television series
Children can learn music faster than adults
Music producers are not doing enough to promote musicians new to the industry
Are parental warning labels on music videos really necessary?
Music can’t affect a student’s ability to read and complete their homework
Social media presence and celebrity stays hugely contributes to the rate of an artist’s success.
Should companies incorporate music in their marketing campaigns?
Existing laws cannot stop people from realistically copying music
Music doesn’t help the world become a better place
Do music award events influence the type of music that many people listen to?
Music award shows create hostility among musicians more than they inspire creative art
Music should be a mandatory subject in literary school
Music producers are responsible for the moral degradation that stem from the production of explicit music
Can the entertainment industry prevent
Do certain genre of music, such as rap and hip-hop, generate violence?
It’s unethical to copyright traditional music
Can we borrow music from international artists without necessarily attributing their work?
Should the social controversies about a musician influence our decision to listen to their music?
Do musicians choose the genre of music depending on the instruments used?
Movie and TV production industries pay musician more for continuous use of their work.
Is music of the future generation will be more annoying than the current
Music that’s used to present bad and harmful ideologies should be banned
The advent of internet music has made physical music stores completely irrelevant
Music can help a person to mediate and find a greater purpose in life
Is listening to music more entertaining than watching movies or playing the 21st century video games?
Music genre has a limited number of tune variation
Is music without lyrics pure?
Should YouTube ban the publication of X-rated music completely?
Classical music is better than other music genres.
Companies such as Spotify and Deezer should stop charging people a monthly subscription to listen to music.
Offline music apps are a waste of time in the current internet-powered world.
Are piano music sheets relevant in the production of modern music?
Politicians use music as propaganda in political races.
Music has a positive impact on modern society.
Traditional old school music is better than modern music.
The production of explicit music videos should banned.
Is there a connection between different music genres?
Classical music doesn’t play any significant role in the production of music today
International music is better than local music
Does the ability to play piano automatically makes one an expert in writing music sheets?
There’s no connection between social class and music genre
Does music have a negative influence on society?
X-rated music has a negative effect on a listeners brain
Music is way better than other types of media
Music has more influence on culture than poetry does
Is writing music an art?
Writing music doesn’t reflect the way an artist thinks in their daily life
Do women play an important role in the production of music?
Women play a great role in the production of music
Modern pop music is badly written compared to the pop music of the 60s.
Celebrities who release music but have no musical talents should not be promoted to be as famous as professional musicians.
Violent lyrics in music plays a role in building a violent society
Are parental warning labels on music still relevant today?
Music band that have been inactive for years should not come back

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The Government Takes On Ticketmaster

Explaining a case that could reshape the multibillion-dollar live entertainment industry..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

Hi, everybody, it’s Sabrina. Before we start today, we wanted to invite you to something special. The Tribeca Festival is starting a brand new annual gala to celebrate excellence in audio. For this, the inaugural year, they’ve chosen to celebrate “The Daily.” We know you, our incredible audience, live all over the world, but we’d like to invite you to join us.

The gala is in New York, on June 9, at 5:00 pm. You can get all the details and buy tickets at tribecafil.com/thedaily. That’s tribecafilm.com/thedaily. I’ll be there, Michael too, along with a bunch of us from the show. Mo Rocca is going to host it. So if you’re in the area or you’re visiting, we’d love to see you there. OK, on with today’s show. From “The New York Times,” I’m Sabrina Tavernise. And this is “The Daily.”

I have got a bone to pick, as usual, with Ticketmaster.

The biggest problem that I have right now is not getting tickets to the Era Tour.

Loading, loading, loading. Want them so bad. Want them so bad. Want them so bad. Nope.

I looked at my account and the tickets are gone.

Over the past few years, few companies have provoked as much anger —

I cannot afford $1,500 tickets.

— among music fans.

Oh, my god.

— as Ticketmaster.

I literally hate Ticketmaster. Like, there is no company I think I hate more than Ticketmaster.

Ticketmaster ought to look in the mirror and say, I’m the problem. It’s me.

Last week, the Department of Justice announced it was taking the company to court. Today, my colleague David McCabe, on how the government’s case could reshape America’s multi-billion dollar live music industry.

It’s Thursday, May 30.

So, David, good to have you back. You have become a beloved guest at “The Daily,” because the government keeps bringing these huge antitrust cases and we keep turning to you to explain them.

Well, it’s a pleasure to be back. And today I have a question for you, which is, what was the first concert you ever went to?

Oh, my gosh. The first concert I ever went to? Oh, my god, I think it was Van Halen in the 1980s, which maybe is before you were born.

You know, no comment, but that’s a pretty good first concert.

And the case that we’re here to talk about today is actually all about shows like a Van Halen concert in 1980.

OK, I’m ready. So let’s get into it. This case, as you and I both know, is about Ticketmaster. So tell us about this case.

So anyone who attends concerts regularly or even irregularly probably knows about Ticketmaster. It’s kind of the ubiquitous digital box office. And those people are probably also familiar with the ubiquitous fan complaints about Ticketmaster — that the company puts high fees that they don’t entirely explain onto tickets, that tickets will sell out really fast during these sort of frantic pre-sales for tours, and that the website doesn’t always work very well.

And probably the most infamous Ticketmaster incident in recent memory was a couple of years ago when the pre-sale began for Taylor Swift’s massive Eras Tour. And fans got locked out, couldn’t get tickets and were absolutely furious. And it really put in the spotlight the power of this company over the ability to buy a ticket to a live music event.

So the DOJ is pointing the finger at this company for all this consumer angst at Ticketmaster.

Well, and when you say this company, it’s not just Ticketmaster. It’s the company that owns Ticketmaster, a company called Live Nation Entertainment. We’ll say Live Nation for short. And it’s a giant company. And to think about just how gigantic and how expansive Live Nation is, I think it’s helpful to think about the fan experience of going to a concert.

[MUSIC PLAYING]

It starts with buying a ticket. And maybe you buy a group of tickets for you and your friends. And then one of your friends can’t make it. They’ve got other plans. You resell their tickets so you can make your money back. And then the day of the show you go, it’s this big production. It’s at a venue. Someone has booked the artist to appear. You go, you buy a beer, you have a good time.

Live Nation is involved in many parts of that process, and that starts with being a major concert promoter. They’re the one putting it on, arranging the event. They’re also selling the tickets through Ticketmaster. Sometimes they’re also involved in reselling the tickets when your friend can’t make it.

And not only that, they actually sometimes manage the artists. And they own or operate the venues where the show is happening. So even down to that beer you’re drinking to enjoy with the show, they might be involved in picking the person who sells that beer to you.

So, basically, they’re everywhere.

They’re everywhere. And the Justice Department says that’s a big part of the problem, that its power is bad for fans.

Good morning. Earlier today, the Department of Justice —

And we really heard that come through at the press conference last week that the Justice Department held to announce this case —

People always remember the first time that they were transformed by live music.

— where Merrick Garland, the Attorney General, really personalized this issue.

I still remember, as a senior in college, going to a Bonnie Raitt concert and seeing a —

He told this story about going to a Bonnie Raitt concert in college.

Merrick Garland did?

Yeah, Merrick Garland did.

I don’t think of Merrick Garland and Bonnie Raitt together in the same sentence.

Well, apparently, in college he attended a Bonnie Raitt show. And the thing he highlighted was that the opener was a young Bruce Springsteen.

We all knew that we had just seen the future of rock and roll.

And in that story, the attorney general seems to be getting at two important threads of this case. The first is that concerts are formative for the people who attend them. And the second is that concerts are an important way that artists reach their fans. That young Bruce Springsteen went on to now be one of the biggest touring artists in the world.

The Justice Department filed this lawsuit on behalf of fans who should be able to go to concerts without a monopoly standing in their way. We have filed this lawsuit on behalf of artists who should be able —

And so the Justice Department is responding here to a feeling that Live Nation, this giant company, has become a gatekeeper for both artists and fans. And that has allowed it to pay artists less sometimes, but also charge fans those fees that they’re so mad about.

It is time for fans and artists to stop paying the price for Live Nation’s monopoly. Thank you.

So help us understand how things have gotten to this point, where Live Nation is so powerful that the DOJ feels the need to sue them.

Well, this company has a long history of tangling with the Justice Department. And that really starts in 2009, when Live Nation and Ticketmaster announced that they were going to merge. And this merger, this big corporate deal, will marry Live Nation’s concert promotion business, the business of putting on shows, with Ticketmaster’s experience as an online ticketing platform.

And the Justice Department — a big part of its job is looking at corporate mergers to figure out if they will substantially lessen competition in the economy. So the Justice Department reviews this merger, and in 2010 decides we will let this merger go through. But we do have some concerns that it might reduce competition in the industry of ticketing. And so we’re going to reach a legal settlement with Live Nation and Ticketmaster that puts conditions on the deal, that requires the company to sell some assets to kind of lessen its footprint. And so the merger goes through. And that creates the sort of modern day Live Nation, Ticketmaster combination.

So the government ultimately actually just lets it happen.

That’s right. They put conditions on the merger, but ultimately they let it go through. And the company continues to tangle with the Justice Department over the next 15 or so years. But mostly they keep getting bigger. They keep growing their footprint across this ecosystem that creates some of the biggest concert tours in the country.

So just how big has the company actually become? Give me some numbers.

Well, let’s start here. Every year, they sell about 600 million tickets.

600 million tickets? That’s more than the number of people in the United States of America.

Yeah. And that is a global number, but it’s a lot of tickets. Right? The Department of Justice estimates that in the United states, Live Nation controls about percent of ticketing to major venue concerts.

So that’s a big percentage. They also own or control, like, in excess of 250 venues, including a big percentage, the Justice Department says, of major amphitheaters, the kind of big outdoor concert venues that are ultimately kind of in between a nightclub and the size of a big football stadium. And they manage hundreds of artists. They have this direct relationship with artists. And so this company is wide and it is deep into this industry.

So ultimately, the Justice Department says that — and I’m going to quote here — it’s the, quote, “gatekeeper for delivery of nearly all live music in America today.”

OK, it’s big. But as we know from other DOJ cases — and this is something that you have taught me, David — the cases against Apple and Google, just being big is not in and of itself a problem.

That’s right. Where companies run afoul of the law is when they use their power as a monopoly against their competitors in order to stay powerful or get more powerful.

And the Justice Department says that Live Nation has built a complex machine to do just that.

We’ll be right back.

So what does the DOJ say that Live Nation is able to do because it is so big? How does it use its bigness?

So the most prominent allegation is that Live Nation uses its power as a concert promoter to entrench its power in ticketing. As a reminder, when you put together a concert, a promoter works with an artist to book the show. They book the show at a venue. And that venue, for all of its shows, has to choose a ticketing provider, a digital box office where people can buy their way into the shows.

And what the Justice Department is arguing here is that Live Nation is able to wield its big artists, the tours that it promotes, as a cudgel to force venues to use Ticketmaster, its ticketing service. So the Justice Department says that in an instance in which a venue switched away from using Ticketmaster, that Live Nation routed tours around that venue, which of course means less money for that venue and a problem for their business.

Interesting. So basically, Live Nation is saying, look, if you want Taylor Swift in your little amphitheater over there, you’re going to have to use Ticketmaster. It’s Ticketmaster or no Taylor Swift.

That is effectively the behavior the Justice Department is arguing has happened here. They’re saying that Live Nation does this in veiled ways and that, more importantly, it’s really understood by venues throughout the industry that if you don’t use Ticketmaster, that you really risk out on losing important Live Nation managed tours. And then once these venues do choose Ticketmaster, Live Nation locks them into these long, exclusive ticketing contracts, which can last for as long as 14 years.

14 years? That’s pretty long. What else is DOJ alleging that Live Nation has done?

Another thing the Justice Department says that Live Nation does is use its power as an owner of venues to get away with paying artists less money for their tours.

So how does that work?

Basically, the argument is that because Live Nation controls so many of certain types of venues, that there are instances in which an artist’s tour might largely be dominated by Live Nation owned venues. And the Justice Department is saying that Live Nation knows that artists don’t have a lot of other options for where to play their concerts and, as a result, is able to pay those artists less. Because there’s not competitive pressure when they’re booking those tours.

That seems pretty unfair to artists who would really benefit from other venues owned by other people competing for them.

And that’s exactly what the Justice Department is saying, that artists lose out, not just fans. And there’s a striking story in the complaint that I think crystallizes how the Justice Department sees these streams of power coming together.

And it concerns a concert, which the lawsuit doesn’t name, in 2021. My colleague Ben Sisario has reported that it was a Kanye West concert featuring Drake. It was a benefit show, and it was taking place at the LA Coliseum in Los Angeles.

One of the companies involved in putting on this show was a firm called TEG. They do promotion and ticketing of the kind that Live Nation does. And the government says that Live Nation saw this as a threat, that they saw this company TEG involved in this show, and they were worried about what it would mean for them, and that they then undertook steps to put pressure on TEG and make their life difficult in a couple of ways.

The first was that TEG had reached a deal to sell some tickets, according to the complaint, through StubHub. StubHub is a secondary resale market. You can buy tickets to shows when people aren’t going to use them.

Right, and competitor to Ticketmaster, right?

And competitor to Ticketmaster. And the Justice Department says that Live Nation found out about that and said, well, we have the exclusive ticketing contract for this venue. And so we will make sure that if you bought your ticket on StubHub, you won’t be allowed to come in to this show.

Really? Like, they couldn’t come into the concert?

Well, and ultimately, the complaint says that StubHub had to work with Ticketmaster to fulfill the tickets that had already been sold, that they stopped selling new tickets, and that hundreds of people who bought their tickets on StubHub didn’t get into the show.

That seems very unfair. Like, they bought a ticket.

Well, and according to the Justice Department, it didn’t stop there, that Live Nation used its industry connections to pressure an investor in TEG, this company that it viewed as a threat, and that it pushed that investor to pull back from its relationship with TEG, which obviously would have weakened this potential competitor.

So these are very strong armed tactics. What is the DOJ saying is the result of all of this? What does all of this amount to?

It says that all of this adds up to higher fees for consumers and a worse product, a worse quality ticketing experience when fans go to buy. Because Live Nation doesn’t have to compete with anyone. It doesn’t have to innovate in response to competitors. So, among other things, the Justice Department wants to break this company up, at the very least by separating Ticketmaster, the ticketing unit, the box office unit, from the rest of Live Nation that does all these other things — promotes concerts, owns venues, et cetera.

So in other words, go back to the way it was in the beginning.

Yeah, or as much as you can.

And why does that fix the problem?

Well, the Justice Department doesn’t say a lot on this point. But it’s clear that what they want to do with this lawsuit is disrupt this cycle where Live Nation’s power reinforces itself again, and again, and again.

And what does Live Nation say in response? I imagine they disagree with all of this.

They do. They’ve said a lot. And they start out by saying something that will be familiar to you, because other companies that have been accused of antitrust violations say it as well, which is that they don’t fit the profile of a monopoly, that their overall profit margins are lower than those of companies like Meta, or Apple, or Google, and that even if you look at Ticketmaster specifically, they take a smaller percentage of every sale than a lot of other digital platforms. So they say basically the numbers show that we don’t have the kind of power you would normally associate with a monopoly.

And then they say, listen, we know that there are things that fans don’t like about the ticketing experience. There may be fixes to those. But largely, it’s not Live Nation’s fault, they say. They say that artists generally set the prices they want people to pay for tickets.

Really? So artists themselves do it.

Right, that artists sign off on how much a ticket will cost to their shows.

And they also say that demand sometimes drives ticket prices up. If there are more people who want to see a show than there are seats or standing room to see that show, the prices will be higher. And finally, they say that there’s this kind of pernicious outside force of scalpers, people who resell tickets, that use bots to hoover up way more tickets than they could possibly use and then resell them at a higher price. And so they say that all of these things may contribute to a fan experience that people don’t like, but that it’s not necessarily Live Nation’s fault.

I mean, to me, this makes certain sense. I guess if you think of a Taylor Swift show and lots of people trying to buy tickets, one reason why those tickets are expensive is not necessarily because there’s something nefarious going on, but because lots of people want to buy tickets. And there’s a market, and supply and demand has a role here.

Well, and a clear question here that I have, that other people have asked, is how much does the Justice Department think ticket prices have gone up because of this alleged Live Nation monopoly? And the Justice Department hasn’t answered that question.

They haven’t disentangled it with all of the other stuff that’s around — market forces, everything?

That’s right. And there’s another element of Live Nation’s response that we should mention, which is that the company basically says this lawsuit is politically motivated, that this administration, the Biden administration, is bringing lawsuits that don’t hold a lot of water but are anti-business. That’s what Live Nation is saying.

I mean, it does sort of ring true in some sense. Right? This has been the tilt of this administration toward cracking down on big companies. The DOJ has changed in this respect. They’re filing a lawsuit to break up a merger that a previous DOJ had actually approved.

Well, you’re right. This Department of Justice, this administration more broadly, has a different view about antitrust. They think that antitrust law can be a more expansive tool to address problems in the economy. And they’ve put that into practice. They’ve sued Google for violating anti-monopoly laws. They’ve sued Apple for violating anti-monopoly laws.

But I think ultimately what they believe is that they’re responding to a change in the economy, that these companies have gotten much bigger, that they have gotten more powerful. And they are responding to the way the companies broke the law on their way to becoming that big.

So, David, when you and I talked about Google and Apple — you referenced them here — you know, we talked about how there were broad repercussions for the future on American society. What would you say the implications are in this case?

This case ultimately, for the Justice Department, is about the market for culture and creativity. You know, a few years ago, the Justice Department successfully blocked Penguin Random House, a big publisher, from buying Simon and Schuster, another publisher. And they said that one problem with this merger was that it would reduce how much authors got paid, and that it would create a market where fewer books and fewer types of stories broke through.

This Justice Department is embracing an idea that the more concentrated the economy gets, the more it stifles creative expression, the ability of artists to make art and get it to the public and the ability of the public to consume it. And that, they say, is a central question of democracy. Because things like music are how we talk about big social issues or big political issues. So that is, they say, what’s at the heart of this case, that it is not just about the fees, it’s not just about how much an artist gets paid. But it’s about whether or not there is a fair marketplace for ideas, and whether or not consumers are able to access it.

David, thank you.

Thank you. [MUSIC PLAYING]

Here’s what else you should know today. On Wednesday, Supreme Court Justice Samuel Alito declined to recuse himself from two cases arising from the January 6, 2021, attack on the Capitol after “The Times” reported that flags displayed outside his houses appeared to support the Stop the Steal movement. In letters to Democratic members of Congress who had demanded his recusal, Justice Alito said that the flags, at his home in Virginia and a beach house in New Jersey, were flown by his wife, Martha Ann, and that he had had nothing to do with it.

And a group of 12 New York jurors deliberated for more than four hours in the final stretch of the criminal trial of Donald Trump, in which the former president is accused of falsifying business records. The jurors asked for portions of the testimony from two witnesses to be read back to them, as well as the judge’s instructions. They were then dismissed for the day and will resume deliberations today.

Today’s episode was produced by Will Reid, Rob Szypko and Rachelle Bonja. It was edited by Michael Benoit and Brendan Klinkenberg, contains original music by Marion Lozano, Dan Powell, and Will Reid, and was engineered by Alyssa Moxley. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

That’s it for “The Daily.” I’m Sabrina Tavernise. See you tomorrow.

June 3, 2024 • 32:07 How Trump’s Conviction Could Reshape the Election
May 31, 2024 • 31:29 Guilty
May 30, 2024 • 25:21 The Government Takes On Ticketmaster
May 29, 2024 • 29:46 The Closing Arguments in the Trump Trial
May 28, 2024 • 25:56 The Alitos and Their Flags
May 24, 2024 • 25:18 Whales Have an Alphabet
May 23, 2024 • 34:24 I.C.C. Prosecutor Requests Warrants for Israeli and Hamas Leaders
May 22, 2024 • 23:20 Biden’s Open War on Hidden Fees
May 21, 2024 • 24:14 The Crypto Comeback
May 20, 2024 • 31:51 Was the 401(k) a Mistake?
May 19, 2024 • 33:23 The Sunday Read: ‘Why Did This Guy Put a Song About Me on Spotify?’
May 17, 2024 • 51:10 The Campus Protesters Explain Themselves

Hosted by Sabrina Tavernise

Featuring David McCabe

Produced by Will Reid , Rob Szypko and Rachelle Bonja

Edited by Brendan Klinkenberg and Michael Benoist

Original music by Marion Lozano , Dan Powell and Will Reid

Engineered by Alyssa Moxley

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music | YouTube

Over recent years, few companies have provoked more anger among music fans than Ticketmaster. Last week, the Department of Justice announced it was taking the business to court.

David McCabe, who covers technology policy for The Times, explains how the case could reshape America’s multibillion-dollar live music industry.

On today’s episode

David McCabe , a technology policy correspondent for The New York Times.

Taylor Swift performs onstage wearing a sparkling bodysuit and boots. Pink and purple fabric waves in the background.

Background reading

The government is accusing Ticketmaster’s corporate parent, Live Nation Entertainment, of violating antitrust laws .

Here’s a guide to the emails at the heart of the government’s case .

There are a lot of ways to listen to The Daily. Here’s how.

We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Renan Borelli, Maddy Masiello, Isabella Anderson, Nina Lassam and Nick Pitman.

David McCabe covers tech policy. He joined The Times from Axios in 2019. More about David McCabe

Understanding the Oedipus Complex: Freud’s Controversial Theory

This essay is about the Oedipus complex, a theory proposed by Sigmund Freud. The complex describes a child’s unconscious desire for the opposite-sex parent and feelings of rivalry with the same-sex parent. Occurring during the phallic stage of psychosexual development (ages three to six), it plays a critical role in personality formation. Boys experience castration anxiety, while girls go through the Electra complex. Resolution involves identifying with the same-sex parent, leading to the development of the superego. Despite criticism and debate over its validity and universality, the Oedipus complex remains influential in psychoanalytic theory, literature, and discussions on gender identity and early childhood relationships.

How it works

The Oedipus complex stands as one of Sigmund Freud’s most notable and contentious theories, central to his comprehensive framework of psychosexual development. Freud unveiled this concept during the dawn of the 20th century, christening it after the mythological figure Oedipus, who, unwittingly, dispatched his father and wedded his mother. Essentially, the Oedipus complex delineates a child’s subconscious yearnings for the parent of the opposite sex, coupled with sentiments of envy and hostility directed towards the parent of the same sex.

Freud posited that this intricate dynamic plays a pivotal role in shaping the adult psyche.

Freud’s postulation posits that the Oedipus complex manifests during the phallic stage of psychosexual development, encompassing roughly the ages of three to six. Within this developmental phase, a young boy harbors latent, subconscious sexual desires for his mother while perceiving his father as a contender for her affections. This precipitates a profound internal turmoil, wherein the boy oscillates between admiration and trepidation towards his paternal figure. The apprehension component, coined as castration anxiety, emanates from the boy’s apprehension of reprisal from the father, envisaging punishment in the form of castration. Conversely, Freud propounded a corollary concept for females dubbed the Electra complex, wherein the girl grapples with feelings of penis envy, longing for her father while harboring resentment towards her mother.

The resolution of the Oedipus complex, as delineated by Freud, represents a pivotal milestone in the trajectory of healthy adult development. For males, this entails aligning oneself with the father, internalizing his precepts and standards, and thereby sublimating the subconscious desires for the mother. This transformative process engenders the development of the superego, the facet of the personality responsible for moral dictates and self-critical introspection. In the case of females, Freud conjectured that resolution materializes through identification with the mother and embracing a stereotypically feminine role, a process that also contributes to the formation of the superego.

Freud’s theories have exerted a profound impact on the discipline of psychology, yet they have also engendered spirited debate and critique. Numerous contemporary psychologists and researchers cast aspersions on the universality and empirical veracity of Freud’s hypotheses. Detractors argue that Freud’s theories are predicated on a circumscribed sample of patients and are disproportionately influenced by the prevailing cultural milieu of his era, rendering them potentially inapplicable to diverse societies and individuals. Furthermore, concepts such as penis envy and castration anxiety are perceived by many as archaic vestiges of a patriarchal worldview.

Despite the aforementioned criticisms, the Oedipus complex remains a cornerstone of psychoanalytic theory, persistently subjected to scholarly discourse and reinterpretation. It has served as a font of inspiration for a plethora of adaptations and reimaginings in literature, cinema, and art, attesting to its profound cultural resonance. Notable authors such as James Joyce and D.H. Lawrence have explored the intricacies of the complex in their literary oeuvre, while cinematic endeavors such as “Hamlet” and “Psycho” have depicted its nuances on the silver screen. These cultural manifestations underscore the enduring allure of Freud’s ideas and their indelible impact on our comprehension of human behavior.

In contemporary psychoanalytic praxis, there has been a discernible shift away from the literal interpretation of the Oedipus complex towards a broader understanding of the ramifications of early childhood relationships on personality development. Modern psychoanalysts accentuate the significance of early attachment bonds, the dynamics of familial interactions, and the latent consequences of unresolved childhood conflicts on adult behavior and relationships. This expanded vantage point facilitates a more nuanced appreciation of the complexities inherent in human development and the myriad factors that influence our psychological well-being.

The Oedipus complex also occupies a prominent position in contemporary discourses surrounding gender identity and sexual orientation. Certain theorists have delved into how the dynamics outlined by Freud may influence the genesis of gender roles and sexual proclivities. However, such discussions are frequently contentious and underscore the exigency of further research and the formulation of more inclusive theoretical paradigms that acknowledge the multiplicity of human experiences.

It is imperative to recognize that Freud’s theories constituted a paradigmatic shift in their epoch, challenging prevailing conceptions of human nature and the intricacies of the psyche. Prior to Freud, the inner world of children languished in relative obscurity within the annals of psychological theory. Freud’s singular focus on childhood experiences and their enduring ramifications on adult personality represented a seismic departure from established orthodoxy. He posited that a substantial portion of human cognition resides within the unconscious realm, propelled by latent desires and conflicts originating in childhood. The Oedipus complex served as a linchpin within this broader framework of the unconscious.

The myth of Oedipus itself stands as a perennially captivating narrative that has enthralled audiences across epochs. In this mythos, Oedipus, fated to slay his father and marry his mother, is cast adrift in infancy to avert this inexorable prophecy. Despite concerted efforts to evade this destiny, Oedipus inadvertently fulfills the prophecy. Freud perceived in this myth a quintessentially human quandary, a fundamental conflict that every child must grapple with. While the specifics of Freud’s theory may engender controversy, the overarching premise that early familial relationships indelibly shape our development enjoys widespread acceptance within the field of psychology.

Freud’s emphasis on the primacy of childhood experiences has permeated myriad domains of psychological inquiry, from attachment theory to developmental psychology. Empirical research has underscored the pivotal role of early caregiver relationships in fostering emotional resilience and social adeptness. Secure attachment, characterized by a sense of safety and nurturance, lays the groundwork for trust and self-assurance. Conversely, insecure attachment may precipitate challenges in interpersonal relationships and emotional regulation. While Freud’s formulation of the Oedipus complex may not enjoy unanimous endorsement, the notion that early familial dynamics wield a profound influence on personality development stands as a seminal contribution to the field of psychology.

In recent years, there has been a discernible trend towards synthesizing insights gleaned from psychoanalysis with findings from neuroscience and developmental psychology. This interdisciplinary convergence affords novel avenues for apprehending the complexities of the mind and its ontogeny. For instance, neuroscientific inquiry has elucidated how early experiences sculpt neural circuitry, thereby shaping cognitive processes and affective responses. These findings corroborate the notion that early relational experiences exert a lasting imprint on our psychological and emotional well-being.

Freud’s ideas have also found fertile ground in the domain of literary and cultural analysis. Psychoanalytic criticism scrutinizes how unconscious desires and conflicts find expression in literary texts and cultural artifacts. Such interpretative frameworks unveil latent meanings and psychological undercurrents embedded within works of art. Shakespeare’s “Hamlet,” for instance, has been subjected to psychoanalytic scrutiny, revealing the eponymous prince’s ambivalence towards his mother and his rivalry with his uncle. These analyses illuminate the multifaceted nature of human experience as depicted in literature and art.

In summation, the Oedipus complex constitutes a contentious yet enduring linchpin of psychological discourse, emblematic of Freud’s intrepid quest to fathom the recesses of the unconscious mind and the formative influence of early familial relationships. While Freud’s specific tenets have been subject to revision and critique, his emphasis on the indelible impact of familial dynamics on personality development endures. The Oedipus complex continues to engender spirited debates and scholarly investigations, underscoring the multifaceted nature of human development and the perennial quest to unravel the enigmatic contours of our desires, fears, and identities. Freud’s seminal contributions have engendered a renaissance in psychological inquiry, furnishing a scaffold for exploring the labyrinthine depths of the human psyche that resonates to this day.

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632 Music Essay Topics & Samples. Updated: Mar 2nd, 2024. 35 min. The scholarly analysis of musical history, theory, and cultural aspects of music is called musicology. If you are studying this subject, our team has prepared 507 amazing topics about music for your paper. We will write.
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To help you narrow down your options and get started on your essay, here are 115 popular music essay topic ideas and examples. The impact of social media on the music industry. The evolution of music streaming services. The role of women in the music industry. The influence of technology on music production.
431 Music Essay Topics & Ideas
4272 words. 19 min read. Music essay topics explore diverse areas of music for academic or personal writing. This comprehensive collection of ideas encourages intellectual curiosity with topics ranging from historical musicology to contemporary pop culture. It also offers thematic ideas, like examining musical elements, understanding music's ...
The Top 10 Most Interesting Music Research Topics
Your music research paper could outline some of these factors that affect music consumer behavior and highlight their mechanism of action. 2. Hip-hop Culture and Its Effect on Teenage Behavior. In 2020, hip-hop and RnB had the highest streaming numbers, according to Statista.
How to Write a Music Essay: Topics and Examples
An essay about music can cover a wide range of topics, including music history, theory, social impact, significance, and musical review. It can be an analytical essay about any music genre, musical instruments, or today's music industry. ... Start by choosing a music essay topic. You can use our list above to get inspired. Choose a topic about ...
How to Write a Music Analysis Essay
1. Understand the Assignment: The first step to writing your music theory essay is to really understand your assignment. Read the teacher's instructions carefully. Pay attention to any specific requirements, like the number of words, or number of sources you need to cite. Make sure you really understand the focus and main point of the assignment.
110 Music Essay Topics
Musical analysis is a description of a piece of music. This usually includes describing the song's mood, tempo, and melody as well as its historical context, genre, composer, and so forth. Students may examine and critique the composition of a piece, or they might discuss the feelings that the music conveys. In short, a musical analysis ...
267 Music Essay Topics + Writing Guide [2024 Update]
Get 267 great music essay topics & ideas. Learn how to write an awesome ★ argumentative or persuasive essay about music 🎵 from this article! Get 267 great music essay topics & ideas. ... However, it wasn't until the 1600s that tonality became a crucial part of music theory. Music in commercials: an analysis. Songs and jingles are ...
List of 50+ Music Extended Essay Topic Ideas
IB Topics. You have requested it, and here you have it - our collection of IB Music extended essay topics. Here at Writing Metier, we've put together a playlist of themes and research questions that are sure to inspire your next academic composition. From the intricate patterns of classical music to the pulsating beats of modern genres ...
Understanding Basic Music Theory
Although it is significantly expanded from "Introduction to Music Theory", this book still covers only the bare essentials of music theory. Music is a very large subject, and the advanced theory that students will want to pursue after mastering the basics will vary greatly. A trumpet player interested in jazz, a vocalist interested in early music, a pianist interested in classical ...
206 Best Music Research Topics That Rock The Stage
Music History Research Topics. Use of songwriting in relation to the political and social situations in Nazi Germany and the French Revolution. Musical Education between two centuries. Evolution in the definition of music over the centuries. Birth of Music in Mesopotamia. Impact of Arab-Andalusian music on renaissance.
100+ Music Essay Topics
Here are 20 potential music history essay topics: The origins and evolution of jazz music in the United States. The impact of the Beatles on popular music in the 1960s. The influence of African rhythms on Latin American music. The role of women in classical music throughout history.
67 Popular Music Essay Topic Ideas & Examples
To address the question, it is needed to explore the connection between music and visual representation. Disco, Rock, Jazz and Popular Music: Comparison. With the support of God, the songs encourage the audience to believe in the power of God to overcome the unfortunate events. "Pop Music, Pop Culture" by Chris Rojek.
Putting the Theory Back in 'Music Theory'
The study of music theory, even from the very first rudiments, is thus transformed from a stern rite of passage mired in dry technicalities, into an expansive intellectual endeavor—reminding students that they themselves are theorists, both in class and in life. Keywords: music theory, pedagogy, epistemology, intervals, harmony, rhythm and meter.
MTO 30.1: Principi, Rethinking Topic Theory
Dylan Principi. KEYWORDS: topic theory, absolute music, hermeneutics, semiotics, history of theory. ABSTRACT: This essay gives a critical history of Anglophone topic theory as it evolved between the publication of Leonard Ratner's Classic Music and The Oxford Handbook of Topic Theory ().Throughout this period, topic theory transformed from the identification of "characteristic figures ...
Music Essay Topics: Great Ideas for Your Academic Papers
Musical essay topics can be related to history, culture, and education. Here are examples of topics that a student can use for a musical essay. ... People looking for an excellent musical essay topic should pay attention to disciplines such as music theory. Moreover, music education can also be an interesting subject for your paper. Here are ...
Music theory
Jubal, Pythagoras and Philolaus engaged in theoretical investigations, in a woodcut from Franchinus Gaffurius, Theorica musicæ (1492). Music theory is the study of the practices and possibilities of music. 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 ...
Music Argumentative Essay Topics: 25+ Ideas for Inspiration
From Robert Matthew Van Winkle fast rap to Dax hip-hop tunes, finding the right essay topic to explore just got easier. In this post, we give you a list of 30+ argumentative topics from which you can choose an appealing title to give your essay a fresh, breathtaking spin.
The Lasting Influence of Michael Jackson on Society
The essay highlights Jackson's role in breaking racial barriers in the music industry and his extensive philanthropic efforts. It also touches on the complexities of his legacy, acknowledging the controversies that surrounded him. Overall, the essay underscores Jackson's enduring influence on music, culture, and society.
John B. Watson's Theory of Behaviorism: Shaping Modern Psychology
This essay is about John B. Watson's theory of behaviorism and its impact on psychology. Watson's theory emphasized observable behaviors over internal mental states, arguing that behavior is learned through conditioning. His famous Little Albert experiment demonstrated that emotional responses could be conditioned in humans.
Sigmund Freud's Theory on the Mother-Son Relationship: an Analysis
Essay Example: Sigmund Freud, acknowledged as the patriarch of psychoanalysis, introduced a plethora of theories that have profoundly impacted the field of psychology. Amidst his manifold concepts, his insights into the mother-son relationship emerge as both seminal and contentious. Freud's
Erik Erikson's Theory Explains Human Development Across the Lifespan
Erikson's theory emphasizes the importance of social and cultural influences on development and highlights the lifelong nature of growth and adaptation. The essay explains how this theory applies across various fields such as psychology, education, and healthcare, offering insights into the continuous process of human development.
The Government Takes On Ticketmaster
Produced by Will Reid , Rob Szypko and Rachelle Bonja. Edited by Brendan Klinkenberg and Michael Benoist. Original music by Marion Lozano , Dan Powell and Will Reid. Engineered by Alyssa Moxley ...
Understanding Human Behavior through the Lens of Albert Bandura's
This essay about Albert Bandura's Social Learning Theory explains how human behavior is learned through observing and imitating others. It highlights key processes such as attention, retention, reproduction, and motivation. The essay discusses the impact of role models, vicarious reinforcement, and self-efficacy on behavior.
Understanding the Oedipus Complex: Freud's Controversial Theory
This essay is about the Oedipus complex, a theory proposed by Sigmund Freud. The complex describes a child's unconscious desire for the opposite-sex parent and feelings of rivalry with the same-sex parent. Occurring during the phallic stage of psychosexual development (ages three to six), it plays a critical role in personality formation.

Exploring the Depths of Music Theory: 250 Essay Topics Unveiled

Fundamentals of Music Theory

Fundamentals of Music Theory Essay Topics

Harmony and Chord Progressions

Harmony and Chord Progressions Essay Topics

Melody and Counterpoint

Melody and Counterpoint Essay Topics

Form and Structure

Form and Structure Essay Topics

Orchestration and Arranging

Orchestration and Arranging Essay Topics

Music Analysis

Music Analysis Essay Topics

Counterpoint and Fugue

Counterpoint and Fugue Essay Topics

Modal and Chromatic Harmony

Modal and Chromatic Harmony Essay Topics

Contemporary Music Techniques

Contemporary Music Techniques Essay Topics

Analysis of Music History and Styles

Analysis of Music History and Styles Essay Topics

120 Music Research Paper Topics

Music Theory Research Paper Topics:

Music Industry Research Paper Topics:

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Classical Music Research Paper Topics:

115 Popular Music Essay Topic Ideas & Examples

431 Music Essay Topics & Ideas

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Easy Music Essay Topics

Interesting Music Essay Topics

100 General Music Essay Topics

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Hip-Hop Music Essay Topics

Pop Music Essay Topics

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The Top 10 Most Interesting Music Research Topics

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Top 10 Music Research Paper Topics

2. Hip-hop Culture and Its Effect on Teenage Behavior

3. The Application of Music as a Therapeutic Tool

4. Contemporary Rock Music and Its Association With Harmful Social Practices

5. The Impact of Streaming Apps on Global Music Consumption

6. Effective American Music Education Practices

7. The Evolution of Music Production in the Technology-driven Era

8. Jazz Music and Its Influence on Western Music Genres

9. The Effect of Wars on Music

10. African Tribal Percussion

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