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Rhythm and pitch are the 2 primary dimensions of music.
They are interesting psychologically because simple, well-
defined units combine to form highly complex and varied
patterns. This article brings together the major
developments in research on how these dimensions are
perceived and remembered, beginning with
psychophysical results on time and pitch perception.
Progressively larger units are considered, moving from
basic psychological categories of temporal and frequency
ratios, to pulse and scale, to metrical and tonal
hierarchies, to the formation of musical rhythms and
melodies, and finally to the cognitive representation of
large-scale musical form. Interactions between the
dimensions are considered, and major theoretical
proposals are described. The article identifies various
links between musical structure and perceptual and
cognitive processes, suggesting psychological influences
on how sounds are patterned in music.
Property of ADAP music academy
Gauraka,Niger state

First of all, know that music theory teaching stopped in time. The didactic of the books is still very similar to the teaching of the last century; few contents were written in a modern language, simple and direct. Most of the content you’ll find there are far-fetched and formal. But that’s not the only problem. The other problem is the lack of connection between the subjects. For example, an article discusses the major scale, another talks about the melodic minor scale, and another talks about the whole tone scale, but none of them shows the relationship between this concepts. Why are there different scales? How can I use each one in practice? Such doubt ends up not being answered.

The result is that you accumulate knowledge, but does not understand any of them. And when the books try to explain something, they do not care about the prerequisites the student have. It is not useful explaining chords using the concept of tetrads if the student does not know what a tetrad is. It is not useful showing arrangements in a sheet music if the student does not know how to read sheet music.

If you struggle to learn music theory because of these factors, do not worry, that does not mean it is difficult. It just means you did not have access to quality material. If you have a well-organized material, divided into modules, advancing the concepts slowly and steadily, with examples and practical explanations in an easy and simple language, you will certainly understand music theory. Most of all, this will make you a better musician!

The musician who knows the theory behind the music is way ahead of others. He knows how to build arrangements, have innovative ideas, knows how to improvise, how to surprise the listener. He who knows the theory knows the rules of the game. An engineer does not look at a building in the same way that anyone looks. He notes the details, think of solutions, knows whether it is safe or not, have ideas of how to optimize the spaces, and can learn from t

NOTES One of the most basic elements in music is the note. In written music, it might look like this: Or this (if there are more than one): THE STAFF The five horizontal lines on which the notes sit are called a staff. Each line or space on the staff is for its own note. hq ˙ e Some free-standing notes or a staff with no notes on it Notes represent sounds called pitches. Because music employs a set of pitches (ranging from low to high), the staff acts like a map for the notes--allowing us to hear, read or write them as: Higher (higher on the staff) Lower (lower on the staff) We read the sequence of notes from left to right. Another way to understand the idea of pitches being lower or higher is to compare it to bears and birds. A bear's voice is low-pitched, while the voice of a bird's is high (this explanation works well for children!). A less musically specific term for pitch is frequency, which is also referred to as low or high. 1

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