Well, you are - of course - right concerning these 6 parts of music theory. I was tempted to say "unfortunately" instead of "of course", because I use to write your list differently in one point: I write "orchestration theory / theory of sound", well knowing, that this part of music theory is taught more as "orchestration" than as "sound". There still prevails a, let me call it "approach of the big grains", meaning we deal with the question "violin or clarinet or both" and even a bit with the question "how much of a violin and how much of a clarinet" (loudness/volume) and of course "how many of them". In pre-electronic, pre-synthesizer times these questions were the only practical ones dealing with sound. It was always a "violin or clarinet or trumpet" kind of question. Always this or that. Here or there. Even playing together there was a clarinet and a violin (and a trumpet etc.). But there wasn´t any possible sound like "I really don´t know, whether this is still a violin or if it already is a clarinet". There wasn´t anything inbetween. It was impossible. But it is possible today. We can create every sound you can think of, every sound you can imagine (and some, which you can´t image). But we keep on teaching as if "sound" was still a question of certain (classical) ionstruments and their combination. We still avoid a more "liquid" approach to sound. There are scales (of notes/frequencies). There are systems of chords. There are systems of rhythm. But we still don´t have any system of sound (and only a few and different and not very useful ways of notating sound and its changes. Have a great time! Rolf from the Czech republic
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