A Generative Theory of Tonal Music, reissue, with a new preface (The MIT Press)

This work, which has become a classic in music theory since its publication in 1983, models music understanding from the perspective of cognitive science. The point of departure is a search for a grammar of music with the aid of generative linguistics. The theory, which is illustrated with numerous examples from Western classical music, relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener. From the viewpoint of traditional music theory, it offers many innovations in notation as well as in the substance of rhythmic and reductional theory. Preface Preface to the 1996 reprint Part one : Theoretical perspective. Music theory as psychology The connection with linguistics The connection with artistic concerns The overall form of the theory Part two : Introduction to rhythmic structure. Grouping structure Metrical structure The interaction of grouping and meter The relation of structural accent to grouping and meter Part three : Grouping structure. Grouping well-formedness rules Perceptual motivation for the preference rule formalism Grouping preference rules Grouping overlaps The performer's influence on preferred hearing Two more examples Part four : Metrical structure. Metrical well-formedness rules Metrical preference rules Further metrical preference rules Variations on the metrical well-formedness rules Metrical irregularities at hypermeasure levels Part five : Introduction to reductions. The need for reductions Possible formal approaches to reduction The tree notation for reductions Preliminary construction of reductions Part six : Time-span reduction : the analytic system. Time-span segmentation Time-span trees and metrical structure Time-span trees and structural accents Details of cadential reduction Background structures and the location of the structural dominant A complete time-span reduction Part seven : Formalization of time-span reduction. Time-span segmentation Time-span reduction well-formedness rules Preference rules within phrases Structural accents of groups Concluding remarks Part eight : Prolongational reduction : the analytic system. Intuitions about tension and relaxation Preliminaries to prolongational trees Prolongational trees A secondary notation A complete prolongational reduction Part nine : Formalization of prolongational reduction. Fundamental hypotheses Prolongational reduction well-formedness rules Prolongational regions Prolongational reduction preference rules The interaction principle Normative prolongational structure Binary form and sonata form Reflections on musical cognition and music as an art Part ten : Some analyses. A complex rhythmic example Motivic structure and time-span reduction Some time-span and prolongational reductions Possible refinements in prolongational reduction Part eleven : Musical universals and related issues. What is a musical universal? Musical innateness Summary of rhythmic features Motivic "transformations," "Deep structures," and musical "archetypes" Remarks on the basis of tonal systems Remarks on contemporary music Part twelve : Psychological and linguistic connections. Gestalt theory and visual form perception Preference rules in linguistic theory A deep parallel between music and language A remark on brain localization Music theory as a cognitive science A search for a grammar of music with the aid of generative linguistics.This work, which has become a classic in music theory since its original publication in 1983, models music understanding from the perspective of cognitive science.The point of departure is a search for the grammar of music with the aid of generative linguistics.The theory, which is illustrated with numerous examples from Western classical music, relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener. From the viewpoint of traditional music theory, it offers many innovations in notation as well as in the substance of rhythmic and reductional theory. A classic in music theory since its publication in 1983, this work models music understanding from the perspective of cognitive science. The point of departure is a search for a grammar of music with the aid of generative linguistics. The theory, which is illustrated with numerous examples from Western classical music, relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener. From the viewpoint of traditional music theory, it offers many innovations in notation as well as in the substance of rhythmic and reductional theory. - Back cover. Preface -- Preface to the 1996 Reprint -- 1. Theoretical Perspective -- 2. Introduction to Rhythmic Structure -- 3. Grouping Structure -- 4. Metrical Structure -- 5. Introduction to Reductions -- 6. Time-Span Reduction: The Analytic System -- 7. Formalization of Time-Span Reduction -- 8. Prolongational Reduction: The Analytic System -- 9. Formalization of Prologational Reduction -- 10. Some Analyses -- 11. Music Universals and Related Issues -- 12. Psychological and Linguistic Connections -- Notes -- Rule Index -- Bibliography -- Index We take the goal of a theory of music to be a formal description of the musical intuitions of a listener who is experienced in a musical idiom. Fred Lerdahl, Ray Jackendoff. Includes Index. Bibliography: P. [353]-359.