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| quote: | Originally posted by Looney4Clooney
theory has never preceded music. It always comes after.
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Exactly. I think that one of the biggest misconceptions regarding music theory is that it is the set of "rules" one must either adhere to or break to make music. As L4C pointed out, this was never the case in early music. Composers didn't dwell on whether or not they were breaking any rules, they simply wrote music that sounded consistent with the contemporary styles. And, just like today, there was far more crap being composed than there were masterpieces.
All that said, the only time that I've ever had to concern myself with music theory "rules" is when analyzing or attempting to mimic a style or song from a certain period. Anybody who has taken a music theory or composition course has likely had to do this in spades. These "rules" are simply the bounds that attempt to delineate the representative music being written during a given time. That same concept can still be applied today, which is what L4C is attempting to do here - i.e., get to the core nuggets of what makes good dance music today, from a harmonic perspective. It's clearly an exercise in music theory because it describes what you're hearing and identifies some commonalities, but I think what he is getting at is that this exercise is not going to explain harmony from a traditional standpoint, because much/most of that doesn't apply.
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