By Fred Lerdahl
This paintings, which has develop into a vintage in song concept considering its book in 1983, versions track figuring out from the viewpoint of cognitive technology. the purpose of departure is a look for a grammar of track via generative linguistics. the idea, that is illustrated with various examples from Western classical tune, 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 concept.
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Additional resources for A Generative Theory of Tonal Music
In presenting our hypotheses about the grammar of tonal music we will attempt to motivate as fully as possible each rule, so that the reader can follow each step in building up what turns out to be a rather intricate system. Ideally we would explore a number of alternative formulations and defend our choice against them, but limitations of space and patience preclude doing so to any great extent. The reader should nevertheless be aware that alternative formulations are possible, and that defects in one aspect of the theory often can be remedied by relatively minor modifications.
GWFR 1 Any contiguous sequence of pitch-events, drum beats, or the like can constitute a group, and only contiguous sequences can constitute a group. 1, and prevents certain configurations from being designated as groups. 1 from being designated together as a group, or the first six occurrences of the pitch D. ) The second rule expresses the intuition that a piece is heard as a whole rather than merely as a sequence of events. < previous page page_37 next page > < previous page page_38 next page > Page 38 GWFR 2 A piece constitutes a group.
14 < previous page page_27 next page > < previous page page_28 next page > Page 28 Now consider the proposition that beats do not possess inherent grouping. This means that a beat as such does not somehow belong more to the previous beat or more to the following beat; for instance, in 4/4 the fourth beat belongs no more to the third beat than to the following first beat. In metrical structure, purely considered, a beat does not "belong" at allrather, it is part of a pattern. A metrical pattern can begin anywhere and end anywhere, like wallpaper.
A Generative Theory of Tonal Music by Fred Lerdahl