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In Composition and Cognition, renowned composer and theorist Fred
Lerdahl builds on his careerlong work of developing a comprehensive
model of music cognition. Bringing together his dual expertise in
composition and music theory, he reveals the way in which his
research has served as a foundation for his compositional style and
how his intuitions as a composer have guided his cognitively
oriented theories. At times personal and reflective, this book
offers an overall picture of the musical mind that has implications
for central issues in contemporary composition, including the
recurrent gap between method and result, and the tension between
cognitive constraints and utopian aesthetic views of musical
progress. Lerdahl's succinct volume provides invaluable insights
for students and instructors, composers and music scholars, and
anyone engaged with contemporary music.
In Composition and Cognition, renowned composer and theorist Fred
Lerdahl builds on his careerlong work of developing a comprehensive
model of music cognition. Bringing together his dual expertise in
composition and music theory, he reveals the way in which his
research has served as a foundation for his compositional style and
how his intuitions as a composer have guided his cognitively
oriented theories. At times personal and reflective, this book
offers an overall picture of the musical mind that has implications
for central issues in contemporary composition, including the
recurrent gap between method and result, and the tension between
cognitive constraints and utopian aesthetic views of musical
progress. Lerdahl's succinct volume provides invaluable insights
for students and instructors, composers and music scholars, and
anyone engaged with contemporary music.
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.
This collection of published and unpublished essays from the 1990s
ranges from analyses of classical music to witty arguments about
the merits and demerits of modernism and postmodernism to
philosophical considerations of time, tempo, and performance.
Rather than taking a technical approach accessible only to
composers and musicologists, George Edwards addresses a wide
audience of musically cultivated readers. His essays include
philosophical and critical thoughts on music, as well as broader
discussions of Marxism, psychoanalytic theory, and semiotics. Some
of the essays were first published in literary journals, and all of
them approach their subjects through an array of cultural
references buttressed with precise musical insights. Collected
Essays on Modern and Classical Music comprises three sections:
essays on modern music, essays on postmodern musicology and
literary theory, and analytical studies of Haydn and Schubert.
Whether dissecting critical assumptions, discussing performance
practices, or explicating the process of musical composition,
Edwards's lively writing is never less than bracing.
Building on the foundation of Lerdahl and Jackendoff's influential
A Generative Theory of Tonal Music, this volume presents a
multidimensional model of diatonic and chromatic spaces that
quantifies listeners' intuitions of the relative distances of
pitches, chords, and keys from a given tonic. The model is employed
to assign prolongational structure, represent paths through the
space, and compute patterns of tension and attraction as musical
events unfold, thereby providing a partial basis for understanding
musical narration, expectation, and expression. Conceived as both a
music-theoretic treatise and a contribution to the cognitive
science of music, this book will be of interest to music theorists,
musicologists, composers, computer musicians, and cognitive
psychologists.
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