Theories of Music and Musical Behavior

Abstract

Musicians use the word, theory, in two quite different fashions *1. One of these ways is, to the best of my knowledge, unique to the profession of music. Used in the phrase, music theory, it commonly refers to the sets of information, skills, and technics covered by courses in notation, ear training, sight singing, harmony, form, analysis, counterpoint, orchestration, and so forth. Providing training in these subjects is a major responsibility for those of us who call ourselves music theorists. The materials presented in these courses are organized on the basis of some set of assumptions about music and musical behavior; but they are, in fact, courses in past or present prac-

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