Download PDF by Fred Lerdahl: A Generative Theory of Tonal Music

By Fred Lerdahl

ISBN-10: 026262107X

ISBN-13: 9780262621076

ISBN-10: 0585375887

ISBN-13: 9780585375885

This paintings, which has develop into a vintage in tune concept given that its e-book in 1983, types tune knowing from the point of view of cognitive technology. the purpose of departure is a look for a grammar of song via generative linguistics. the speculation, that is illustrated with a number of examples from Western classical track, relates the aural floor of a bit to the musical constitution unconsciously inferred by way of the skilled listener. From the perspective of conventional song concept, it bargains many inventions in notation in addition to within the substance of rhythmic and reductional conception.

Show description

Read or Download A Generative Theory of Tonal Music PDF

Best composition & performance books

Gardner Read's Pictographic Score Notation: A Compendium PDF

This article offers the 1st entire exam of pictographic notation. Pictographic musical notation represents the proper tools themselves rendered visually instead of verbally. Used such a lot widely in modern courses among the Fifties and Nineteen Eighties, its attractiveness has waned in recent times.

Get Ira Gershwin: The Art of the Lyricist PDF

To the perennial query "which comes first, the track or the phrases? " Ira Gershwin continually answered, "the agreement. " The jest finds either Ira's consummate professionalism and the self-effacing wit with which he ducked the highlight each time attainable. but the ingeniously artistic melodies George Gershwin composed for such vintage songs as "Someone to observe Over Me," "Embraceable You," "Fascinating Rhythm," "It Ain't unavoidably So," and "Love is right here to stick" survive in no small half as a result of both unforgettable lyrics of Ira Gershwin, traces crafted with a precision that earned him the sobriquet "The Jeweller" between his Broadway friends.

Get Music Education with Digital Technology (Education and PDF

This publication attracts jointly quite a number leading edge practices, underpinned by means of theoretical perception, to elucidate musical practices of relevance to the altering nature of education and the transformation of track schooling and addresses a urgent have to offer new methods of brooding about the appliance of track and expertise in colleges.

Download e-book for kindle: Roger Smalley: A Case Study of Late Twentieth-Century by Christopher Mark

How does one pass approximately writing the historical past of musical composition within the overdue 20th century while, at the one hand, lots of it sort of feels impossibly fractured and disassociated, and, at the different, there was so little simple task approximately what the proposal of 'music historical past' may possibly entail less than the evaluations of post-modernism?

Additional resources for A Generative Theory of Tonal Music

Sample text

Syncopation takes place where cues < previous page page_17 next page > < previous page page_18 next page > Page 18 are strongly contradictory yet not strong enough, or regular enough, to override the inferred pattern. In sum, the listener's cognitive task is to match the given pattern of phenomenal accentuation as closely as possible to a permissible pattern of metrical accentuation; where the two patterns diverge, the result is syncopation, ambiguity, or some other kind of rhythmic complexity.

11b. 11c, grouping intuitions are indeterminate. 11 These examples have demonstrated two basic principles of visual and auditory grouping: groups are perceived in terms of the proximity and the similarity of the elements available to be grouped. In each case, greater disparity in the field produces stronger grouping intuitions and greater uniformity throughout the field produces weaker intuitions. Next consider fields in which both principles apply. 12a the principles of proximity and similarity reinforce each other since the two circles are close together and the three squares are close together; the resulting grouping intuition is quite strong.

For example, at the 2-bar level, the introductory bar, the down-up pattern of the bass notes, the motivic structure of the melody, and the harmonic rhythm all conspire to produce strong beats at the beginnings of odd-numbered bars. ) The case is quite otherwise at the next larger level, the 4-bar level. Should the beats at this level be placed at the beginnings of measures 1, 5, and 9, or at those of measures 3 and 7? The cues in the music conflict. The harmonic rhythm supports the first interpretation, yet it seems inappropriate to hear the strongest beats in each 4-bar theme-group (measure 2 5, 6 9) as occurring at the very end of those groups (the downbeats of measures 5 and 9).

Download PDF sample

A Generative Theory of Tonal Music by Fred Lerdahl

by Brian

Rated 4.89 of 5 – based on 13 votes