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A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford Studies in Music Theory)
Customer Reviews:
Some good insights, but the fundamental premise is flawed
By Athanasius - May 22, 2011For a work purporting to be an "epoch-making publication in music theory," one thing immediately stands out before the book is even opened. Why are 2 of the 4 supportive quotes on the dust jacket from psychologists, instead of music theorists? The first informs us that the author of this book had publications in the journal Science; therefore we should pay attention to his work in music theory. But the journal Science is not generally concerned with fields like music theory, and the two articles in question (the genesis of this book) were not really music theory publications, but rather a mathematical description of a type of n-dimensional space which the author claimed could encompass all previous geometrical models for music. I humbly submit that I can easily make the same claim, by pointing out that the n-dimensional space of real numbers also could encompass all previous geometrical models for music, with suitable transformations introduced as necessary. Defining an... read more
Amazing Book
By James Erickson - April 8, 2011This book brings amazing insight into the world of music and the more esoteric world of abstract music and how it all fits together. Being of a mathematical and scientific background this book really speaks my language in its explanation of music theory. However, I warn anyone interested in this book that this book uses a lot of mathematical concepts to explain music theory and link previously unrelated topics in music; so if math is a weakness of yours, this book is probably not going to be very useful to you-or at the very least much more difficult for you to plumb the depths of its knowledge.
Music Theory for the 21st Century
By Mark D. LaDue - November 13, 2011Several years ago I happened to see one of Dmitri Tymoczko's Science articles. I was hoping to find an introduction to that paper's ideas that would be suitable for a course aimed at students with an undergraduate background in both mathematics and music theory, but none existed at that time. When OUP published A Geometry of Music, I was excited to see it; however, when I saw that half of the original six reviews here were strongly negative, I hesitated to buy it.
Unfortunately, some previous reviewers seem to feel an animus toward the author and insist on using the book's dust jacket and introduction against him. But plainly OUP selected the blurbs it did to emphasize the book's potentially broader appeal, and it's hard to see how the author's account of his undergraduate music theory education in the introduction can be regarded as an affront to his alma mater. One has only to turn to the author's acknowledgments and read his copious footnotes to see that he has given... read more
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