In The Hidden Symmetry of 43 Octatonic Scales and 43 Tetrachords, Creamer provides an extensive explanation and analysis of his system of octatonic (eight-note) harmonizations and melodic organization as well as a series of exercises, complete musical examples and original compositions utilizing the system. While the book includes the diminished scale and all of the eight-note bebop scales, Creamer goes well beyond their traditional use in a jazz context and introduces a vast new musical language where all eight notes are utilized as scale tones creating thousands of chord combinations, tonal colors and melodic possibilities that can be used by improvisers and composers in any musical context for generating new ideas and expanding traditional harmonic and melodic approaches. Guitarists will also benefit from the inherit symmetrical fingerings of the system (eight-notes-per-two-strings) as well as full tablature for all examples have been provided. Much more than a series of possible mathematical combinations, the book is presented as a complete system, and while a thorough theoretical framework is presented for contextual understanding, the music is first and foremost the focus of the work as articulated in the book’s Foreward by Tuck Andress. Perhaps not since George Russell’s book, Lydian Chromatic Concept of Tonal Organization, has a book had such tremendous potential for modern composers and musicians.

Jack Boss presents detailed analyses of Arnold Schoenberg's twelve-tone pieces, bringing the composer's 'musical idea' - problem, elaboration, solution - to life.

"Develop Extreme Chops for guitar. Applicable for all types of music from Shred to Classical to Jazz to Bluegrass to Chickin' Pickin'. This method is endorsed and utilized by some of the best guitarists in the world. There is NO better method for developing chops and efficiency on the instrument. -Tab and standard notation -Amazing Chops (works for Fusion, Metal, Jazz, etc) -Amazing blues scale applications -Sweep Picking to die for -Pick & Finger rolls -Incredible Arpeggios -Pentatonic Madness -4th and 5th chords and arpeggios -Odd Meter Phrasing -The most comprehensive Chord Sub methodology -Diminished lines like you've never seen before -Endorsed and used some of the best guitarists in the world"

Portrays Schoenberg's atonal music as successions of motives and pitch-class sets that flesh out 'musical idea' and 'basic image' frameworks.

An international team of scholars presents historic, philosophic, philological and theoretical perspectives on Carter's extensive musical repertoire.

Ton de Leeuw was a truly groundbreaking composer. As evidenced by his pioneering study of compositional methods that melded Eastern traditional music with Western musical theory, he had a profound understanding of the complex and often divisive history of twentieth-century music. Now his renowned chronicle Music of the Twentieth Century is offered here in a newly revised English-language edition. Music of the Twentieth Century goes beyond a historical survey with its lucid and impassioned discussion of the elements, structures, compositional principles, and terminologies of twentieth-century music. De Leeuw draws on his experience as a composer, teacher, and music scholar of non-European music traditions, including Indian, Indonesian, and Japanese music, to examine how musical innovations that developed during the twentieth century transformed musical theory, composition, and scholarly thought around the globe.

‘The study of music is the study of the human being. The two are inseparable, and eurythmy is the art which brings this most clearly to expression. In these lectures, Rudolf Steiner guides us along a path toward an understanding of the human form as music comes to rest – the movements of eurythmy bringing this music back to life.’ – Dorothea Mier ‘Fundamentally speaking, music is the human being, and indeed it is from music that we rightly learn how to free ourselves from matter.’ – Rudolf Steiner The focus of these eight lectures is the source of movement and gesture in the human being. The movement in musical experience is thus traced back to its origin in the human instrument itself. Like the degrees of the musical scale, Rudolf Steiner leads his select audience of young artists through eight stages, focusing on the living principles of discovery and renewal. Eurythmy was born in the turbulent decades of the early twentieth century. From an individual question as to whether it was possible to create an art based on meaningful movement, Rudolf Steiner responded with fresh creative possibilities for a renewal of the arts in their totality. The new art of eurythmy was an unexpected gift. Today, music eurythmy, along with its counterpart based on speech, is practiced as an art, taught as a subject in schools, enjoyed as a social activity and applied as a therapy. This definitive translation of Steiner’s original lecture course on eurythmy includes a facsimile, transcription and translation of the lecturer’s notes, together with an introduction and index. The volume is supplemented with an extensive ‘companion’, featuring full commentary and notes compiled by Alan Stott, as well as a translation of Josef Matthias Hauer’s Interpreting Melos.

Written by a composer and a musician, The Contemporary Violin offers a unique menu of avant-garde musical possibilities that both performers and composers will enjoy exploring. Allen and Patricia Strange's comprehensive study critically examines extended performance techniques found in the violin literature of the latter half of the twentieth century. Drawing from both published and private manuscripts, the authors present extended performance options for the acoustic, modified, electric, and MIDI violin, with signal processing and computer-related techniques, and include more than 400 notated examples. The authors begin with bowing techniques and proceed systematically through other aspects of string playing, including MIDI technologies. Their correspondence and research with many performers and composers, the book's extensive score and text bibliography, and the discography of more than 130 recordings make The Contemporary Violin a valuable contemporary music reference and guide. An additional benefit is its listing of Internet resources that will keep the reader up to date with recent developments in contemporary performance and composition. First published by UC Press, 2001.

The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.

Designed for Music Theory courses, Music Theory Through Improvisation presents a unique approach to basic theory and musicianship training that examines the study of traditional theory through the art of improvisation. The book follows the same general progression of diatonic to non-diatonic harmony in conventional approaches, but integrates improvisation, composition, keyboard harmony, analysis, and rhythm. Conventional approaches to basic musicianship have largely been oriented toward study of common practice harmony from the Euroclassical tradition, with a heavy emphasis in four-part chorale writing. The author’s entirely new pathway places the study of harmony within improvisation and composition in stylistically diverse format, with jazz and popular music serving as important stylistic sources. Supplemental materials include a play-along audio in the downloadable resources for improvisation and a companion website with resources for students and instructors.