Music Theory makes much more sense in english...

That's me screwed then..it might as well be in Chinese when I look at that stuff.

Paulo - I would like to study Cantonese, eventually. But improving my English and getting back to German are my priorities. And then, Japanese, if I live long enough... ;)
 
Music theory, at least the basics, is not that hard; but unless someone feels the need for it, there's no point I guess. 
 
Sharke - interesting. I had forgotten about those, but now that you mention them, I remember vaguely.
 
 
 

spacealf
But is music theory (since it is only a theory) made to be broken??

Bapu's bazz proves anything can be broken..

Man, that is some weird terminology in French. I never actually thought of how music theory (esp. in terms of the NAMES of things) changes within different languages! I may take a look at the Arabic as well.

I'm pretty good with my music theory in that I know quite a lot about scales, chord spellings, chord functions, modulation etc. And with a guitar in my hands I can construct any chord you throw at me anywhere on the fretboard on the spot, because I know how all the notes on the guitar relate to one another interval wise. 
 
But for the most part, when I'm writing music at the computer I have absolutely no concept whatsoever of what notes I'm writing or what chords they make up. If I play a part on the keyboard, it's been picked out by ear without any theory behind it whatsoever. I also do a lot of work in the piano roll view, just setting notes down and moving them around until they either resemble what I hear in my head or until they resemble something completely different, but which I like the sound of. A lot of the parts I come up with are often quite harmonically rich, and they frequently change key (and sometimes meter). But I'll work through a whole song not knowing or even caring what those chords are. On the rare occasion I do bother to work them out, I'm usually quite surprised. For instance I recently sat down and worked out the chords of a tune I'd working on and they turned out to be Am/D7sus/Esus4/Fm/Bb/Dm/C/Bb. Those were felt out by hand at the keyboard, but I very much doubt that I would have come up with them had I been thinking in terms of music theory, either with my guitar or with pen and paper. That Fm/Bb modulation in particular. For this reason I've really been enjoying the experience of working "blind" at the keyboard and the PRV because I really do have no idea what I'm playing, unlike the guitar. 
 
The MIDI functionality has opened up a whole new area of musical composition for me and I love it. I have a few "cheats" by which I come up with stuff I would have never written in the traditional sense. One is banging out a rhythm on one key and then going back and dragging those notes out into chords in the piano roll. In this way I can develop chord parts which I would never have been able to play on the keyboard (since I'm crap at piano). Another way is by using the polyphonic MIDI conversion of Melodyne Editor to convert dense orchestral recordings into MIDI and then exploring that MIDI. For instance I took a short sample of a Percy Grainger piece and converted it to MIDI. The result was pretty much nothing like the original (I didn't bother to tidy it up in Melodyne), and then I quantized it to 16th notes. After that I just set about removing some notes, adding some notes and moving others around, using my own sense of music, until it turned into something which had my musical stamp on it, but which I never would have come up with without the "seed" of Percy Grainger's notes. 
 
I sometimes wonder if I could get by without knowing any theory at all. There's only 12 notes, after all!

I have a very strong background in Music Theory & Ear Training …..
FWIW ..I feel it is much more important than what type of gear I happen to use 
a lot of people don't realize that they are shortchanging them selfs by not learning Music Theory ….
when you start to understand a little about music theory , you can take what you know and recycle every thing in new and interesting combinations of musical ideas …
that alone makes it with the effort 
 
Kenny
 

Without music theory, the following isn't as funny.
 

An Upscale Bar
C, E-flat and G entered a bar.
The bartender said, "Sorry, I don't serve minors."
The E-flat left and the C and G had an open fifth between them. After a few drinks, the fifth was diminished and the G was out flat.
An F entered and tried to augment the situation but was not sharp enough.
A D entered and excused himself to the bathroom, saying, "I'll just be a second."
An A entered but the bartender wasn't convinced that this relative of C was not a minor.
Then the bartender noticed a B-flat hiding at the end of the bar. "Get out, right now!" he exclaimed. "You're the seventh minor I've found in this bar tonight."
The next night the E-flat returned to the bar in a 3-piece suit.
The bartender said, "You're looking sharp tonight. This could be a major development."
This was the case, when the E-flat took off the suit and everything else to stand there au natural.
Eventually, the C sobered up and realized in horror that he was under a rest.
He was brought to trial, found guilty of contributing to the diminution of a minor, and was sentenced to ten years of D.S. without the possibility of a Coda.
On appeal, he was found innocent of any wrongdoing, even accidental, because the accusation was bassless.
The bartender decided he needed a rest -- and closed the bar.

Hey!  Even I can afford these courses!