That's sound design theory, not music theory. They're not the same thing.
Music theory is about chords, scales, rhythm, and - most importantly and elusively - how to fit them together to say something interesting.
Entry-level trad Western Theory gives you the concept of a basic grammar as a first introduction, but once you have that you can extend it fairly painlessly to jazz/funk/metal/pop/whatever.
Advanced classical grammar - baroque and modal counterpoint, extended harmony, and such - has some useful pointers for modern song-writing, but it's a specialised skill for experts. Movie and game score composers likely know it, but it's a degree-level skill.
Sound design theory is a subset of orchestration. The proof is that you can take most music and play it with simple sine wave bloops - no orchestration at all - and it remains completely recognisable.
Explaining equal temperament etc sounds clever and it's interesting if you like that kind of thing, but it's a distracting level of nerdery that doesn't help at all with basic song writing.
Music theory is about chords, scales, rhythm, and - most importantly and elusively - how to fit them together to say something interesting.
Entry-level trad Western Theory gives you the concept of a basic grammar as a first introduction, but once you have that you can extend it fairly painlessly to jazz/funk/metal/pop/whatever.
Advanced classical grammar - baroque and modal counterpoint, extended harmony, and such - has some useful pointers for modern song-writing, but it's a specialised skill for experts. Movie and game score composers likely know it, but it's a degree-level skill.
Sound design theory is a subset of orchestration. The proof is that you can take most music and play it with simple sine wave bloops - no orchestration at all - and it remains completely recognisable.
Explaining equal temperament etc sounds clever and it's interesting if you like that kind of thing, but it's a distracting level of nerdery that doesn't help at all with basic song writing.