"Written text is kept to a minimum. Instead, the emphasis is on graphics, i.e., the notes. In some texts, the explanations of chords, intervals, scales, voice leading, etc. can be more confusing that it need be. There are copious exercises. Theory at this level is best learned "hands on." The exercises are present so that students need not be accomplished pianists to play through them as they complete them." -Gayle Murchison
About the Author
Michael Horvit is Professor Emeritus of Composition and Theory at the Moores School of Music, University of Houston. His works range from solo instrumental and vocal pieces to large symphonic and choral compositions and operas, all widely performed in the United States, Europe, Japan, and Israel. He has published with C.F. Peters, MorningStar, Recital Publications, Shawnee Press, E.C. Schirmer, Southern, and Transcontinental, and has CDs with the Albany label. Horvit's awards include the Martha Baird Rockefeller Award as well as the National Endowment for the Arts.
Robert Nelson teaches music theory and composition at the Moores School of Music, University of Houston. A composer in residence and music director of the Houston Shakespeare Festival for 17 seasons, he has also received numerous commissions for compositions and arrangements for the Houston Symphony Orchestra.
Timothy Koozin is known internationally as a specialist in music instructional technology. Dr. Koozin is editor of the electronic journal, MUSIC THEORY ONLINE. His writings appear in PERSPECTIVES OF NEW MUSIC, CONTEMPORARY MUSIC REVIEW, MUSIC THEORY ONLINE, COLLEGE MUSIC SYMPOSIUM, NOTES AND COMPUTERS IN MUSIC RESEARCH. He teaches courses in music theory, analysis, and music technology at the University of Houston, Moores School of Music.