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Composer-Pianist Robert Cunningham

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Foundations of MusicMeterMusic TheoryPreludes
September 18, 2016 Robert Cunningham

SEVEN: Life at Meter’s Outer Limit

I related the “Seven Plus or Minus Two” principle to pitches and harmonic centers in an earlier post to this

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Music Theory
September 8, 2016 Robert Cunningham

Dissonance versus Atonality

Non-musicians sometimes confuse dissonance with atonality. As a tonal Romantic composer, I like to highlight the difference using an analogy

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Foundations of MusicMusic Theory
August 25, 2016 Robert Cunningham

SEVEN: The Magic Number of Harmony

In this blog’s first post, we looked at the physics behind our harmonic/melodic system. But music isn’t just a physical

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Foundations of Music
August 16, 2016 Robert Cunningham

Math’s Gift to Musicians

Is music just a cultural product, or does it also have roots in nature? I contend that the tonal system

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Music Blog

  • Life and Career of Robert Cunningham
  • Music Theory
    • Counterpoint
    • Foundations of Music
    • Harmony
    • Melody
      • Melodic Transformation
    • Meter
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    • Rhythm
    • Schenkerian Analysis
  • Romanticism
  • Technology and Music
  • The Composer's Craft
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  • Uncategorized
  • Works by Robert Cunningham
    • Adagio for Violin and Piano
    • Horn Trio
    • Lament for Flute and Piano
    • Meditation
    • Nocturne for Woodwinds and Piano
    • Nocturne No. 1 for Piano
    • Nocturne No. 2 for Piano
    • Piano Quartet
    • Poems
    • Preludes
    • Rhapsody for Woodwinds and Piano
    • Romance for Clarinet and Piano
    • Romance for Oboe and Piano
    • Sonatas
      • Piano Sonata No. 1
      • Piano Sonata No. 2
      • Piano Sonata No. 3
      • Piano Sonata No. 4
      • Sonata for Oboe and Piano
    • Sonnet XVIII
    • Variations for Flute and Piano
    • Vocal/Choral Works

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Recent Posts

  • Themes of Sonata No. 2 (Part I)
  • Hymn to the Night (Part II)
  • A Contrapuntal Finale
  • The 2019 Intercontinental Piano Competition
  • The Story of Piano Sonata No. 1
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