By abstract, I meant like Schenker (I then saw that you compare Schenker and Westergaard’s approaches elsewhere in the thread). Schenker was pretty adamant that his method was for analysis only, and not a compositional tool. So I was wondering if the book gave an overview of how Westergaard thinks music works, or if it does this and also teaches how to do harmony exercises, perform species counterpoint, and the like.
To break it down into my goals: I have a general goal of learning how music actually works (I’ve got a reasonably good grasp as it is; kinda important to me professionally), hence the interest in music cognition. However, as a specific goal I need to pass this exam!
It certainly looks interesting; it seems a little too expensive for me to get right now, but if I can get a cheap copy or a loan, I’ll look into it.
So I was wondering if the book gave an overview of how Westergaard thinks music works, or if it does this and also teaches how to do harmony exercises, perform species counterpoint, and the like.
Oh, the book certainly contains exercises, and is definitely intended as a practical textbook as opposed to a theoretical treatise (in fact, I actually wish a more comprehensive treatise on Westergaardian theory existed; the book is pretty much the only source). It’s true that Westergaard’s theory itself is descended from Schenker’s, but his expository style is quite different! Part II of the book is basically a species counterpoint course on its own.
What the book doesn’t contain is “harmony” exercises in the traditional sense. (In fact, I think the passage I quoted above might be the only time the word “harmony” occurs in the book!) However, this is not an omission, any more than the failure of chemistry texts to discuss phlogiston is. “Harmony” does not exist in Westergaard’s theory; instead, its explanatory role is filled by other, better concepts (mainly the “borrowing” operation introduced in Section 7.7 -- of which the species rule B3 of Chapter 4 is a “toy” version).
So in place of harmony exercises, it has Westergaardian exercises, which are strictly superior.
It certainly looks interesting; it seems a little too expensive for me to get right now, but if I can get a cheap copy or a loan, I’ll look into it.
If you have access to a university library, there’s a good chance you can find a copy there; at the very least, you should be able to get one through interlibrary loan.
Right. Well to pass this exam, seeing as I’ll be required to perform harmony exercises, I will possibly keep the other approach in mind.
My college library doesn’t have a copy according to the online database; besides I’m actually finished my degree so I can’t borrow stuff from there from next month on anyway. I’ll try convince someone to get it out for me from another college.
By abstract, I meant like Schenker (I then saw that you compare Schenker and Westergaard’s approaches elsewhere in the thread). Schenker was pretty adamant that his method was for analysis only, and not a compositional tool. So I was wondering if the book gave an overview of how Westergaard thinks music works, or if it does this and also teaches how to do harmony exercises, perform species counterpoint, and the like.
To break it down into my goals: I have a general goal of learning how music actually works (I’ve got a reasonably good grasp as it is; kinda important to me professionally), hence the interest in music cognition. However, as a specific goal I need to pass this exam!
It certainly looks interesting; it seems a little too expensive for me to get right now, but if I can get a cheap copy or a loan, I’ll look into it.
Cheers for the advice!
Oh, the book certainly contains exercises, and is definitely intended as a practical textbook as opposed to a theoretical treatise (in fact, I actually wish a more comprehensive treatise on Westergaardian theory existed; the book is pretty much the only source). It’s true that Westergaard’s theory itself is descended from Schenker’s, but his expository style is quite different! Part II of the book is basically a species counterpoint course on its own.
What the book doesn’t contain is “harmony” exercises in the traditional sense. (In fact, I think the passage I quoted above might be the only time the word “harmony” occurs in the book!) However, this is not an omission, any more than the failure of chemistry texts to discuss phlogiston is. “Harmony” does not exist in Westergaard’s theory; instead, its explanatory role is filled by other, better concepts (mainly the “borrowing” operation introduced in Section 7.7 -- of which the species rule B3 of Chapter 4 is a “toy” version).
So in place of harmony exercises, it has Westergaardian exercises, which are strictly superior.
If you have access to a university library, there’s a good chance you can find a copy there; at the very least, you should be able to get one through interlibrary loan.
Right. Well to pass this exam, seeing as I’ll be required to perform harmony exercises, I will possibly keep the other approach in mind.
My college library doesn’t have a copy according to the online database; besides I’m actually finished my degree so I can’t borrow stuff from there from next month on anyway. I’ll try convince someone to get it out for me from another college.