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This chapter summarizes a number of studies measuring the degree to which different chords are perceived as related to one another. These perceptual judgments depend strongly on the tonal context according to the principles of contextual dependency proposed in Chapter 6. Supporting results are obtained from studies of memory for chord sequences, also described in Chapter 8. The chapter concludes with a summary of the commonalities found for tonal and harmonic structures.

This chapter examines the musical composition of the album The Sorcerer by the Miles Davis Quintet. It considers the group's practice of placing complete or partial statements of the head's melody between or within solos. It discusses the singles “Vonetta”, “Prince of Darkness”, “Masqualero”, “Pee Wee”, and “Limbo”, analyzing their use of a syncopated harmonic progression which typically appears near the end of the composition's form. It considers how the feature operates as a compositional release, one that operates in the absence of standard bridge sections or harmonic turnarounds at the end of the repeating form. It also highlights Wayne Shorter's improvisation on “Vonetta”, and Miles Davis's and Herbie Hancock's improvisations to “Prince of Darkness.”

This chapter discusses the musical structure of the album Nefertiti by the Miles Davis Quintet. The album became a pivotal event for the group in terms of harmonic structure and composition. The chapter describes the album's unusual step of performing without improvisations by trumpet, saxophone, and piano; and how it only consisted of repeated statements of the melody, with shifting accompaniment provided by the rhythm section which effectively reversed the roles for horns and rhythms. It explains the reasons for these changes, stressing the group's continuing practice of highlighting compositional melody on the recordings. It also analyzes the album's singles, “Hand Jive”, “Nefertiti”, “Madness”, “Pinocchio”, and “Riot.”

This chapter explores the quintet's approach to the studio recording of the album Miles Smiles, known for its effortless negotiation between the traditional and experimental. It analyzes the album's singles, namely, “Orbits”, “Circle”, “Footprints”, “Dolores”, “Freedom Jazz Dance”, and “Ginger Bread Boy”. It discusses the harmonic structure of each, concerning the head, improvisations, and mode/scale organization. It looks into how the Miles Davis Quintet further developed their celebrated sense of airy openness and space by highlighting their studio techniques and indicating each member's contributions to the composition of songs.

The act of listening to music to reach altered states of consciousness is common across many different cultures around the world, ranging from tribal settings in Central Java, Indonesia, to EDM (electronic dance music) dance clubs in the Western world. Despite the widespread listenership to trance music, we lack a comprehensive, scientific account of how features of the musical surface and structure map onto the psychophysiological experience of music. This chapter provides an overview of existing research that connects the phenomenology of trancing to psychological and neurophysiological findings. It highlights two recent empirical studies that investigate how listeners’ enjoyment and self-reported altered states of consciousness are influenced by harmonic repetition and complexity in uplifting trance (UT) pieces. This leads to a discussion of the connection between the structural properties of trance music and their impact on listeners’ enjoyment and on altered states of consciousness.

The chapter provides several rehearsal concepts that develop stronger rhythmic precision and phrasing concepts within the intermediate-advanced orchestra. Rhythmic precision depends the students’ ability to cognitively interpret and intrinsically feel the rhythmic notation correctly, as well as the students’ ability to maneuver the bow in such a way that the articulation is rhythmically precise. The author discusses ensemble development activities designed to promote better intrinsic pulse, hand-eye coordination with the bow, leadership, listening, and left- and right-hand coordination. In addition, the chapter discusses how beautiful phrasing is developed by listening, singing, using imagery, identifying harmonic structure, and incorporating body movement.