New PDF release: 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 turn into a vintage in track concept on account that its booklet in 1983, types song knowing from the point of view of cognitive technology. the purpose of departure is a look for a grammar of track because of generative linguistics. the idea, that's illustrated with a variety of examples from Western classical song, relates the aural floor of a section to the musical constitution unconsciously inferred by means of the skilled listener. From the point of view of conventional track concept, it deals many inventions in notation in addition to within the substance of rhythmic and reductional conception.

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Additional info for A Generative Theory of Tonal Music

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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). Rather, the opening motive seems to drive toward strong beats at the beginnings of measures 3 and 7. 10. But the real point is that this large level of metrical analysis is open to interpretation, whereas smaller levels are not. 11, a simplified version of the first 23 bars of Mozart's G Minor Symphony.

In both, structural accent can be regarded as a force independent of meter, expressing the rhythmic energy of pitch structure across grouping structure. A dogmatic preference for either hypothesis would distort the flexible nature of the situation; one or the otheror perhaps something more complicatedpertains in a given instance. In a broad sense, in-phase passages usually yield hypothesis A < previous page page_32 next page > < previous page page_33 next page > Page 33 and out-of-phase passages usually yield hypothesis B.

The most fundamental characteristic of musical groups is that they are heard in a hierarchical fashion. A motive is heard as part of a theme, a theme as part of a theme-group, and a section as part of a piece. To reflect these perceived hierarchies we represent groups by slurs placed beneath the musical notation. A slur enclosed within a slur signifies that a group is heard as part of a larger group. 1 the groups marked p are heard as part of the larger group marked q. 1 The concept hierarchy must be examined with some precision.

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A Generative Theory of Tonal Music by Fred Lerdahl

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