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A Generative Theory of Tonal Music (English Edition)
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A Generative Theory of Tonal Music (English Edition) [Format Kindle]

Fred Lerdahl

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Descriptions du produit

Présentation de l'éditeur

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.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 8769 KB
  • Nombre de pages de l'édition imprimée : 384 pages
  • Editeur : The MIT Press (31 décembre 1982)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B002ZG7B90
  • Synthèse vocale : Activée
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  • Classement des meilleures ventes d'Amazon: n°311.302 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Commentaires client les plus utiles sur (beta) 3.6 étoiles sur 5  5 commentaires
31 internautes sur 37 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 This book is a turning point in XXth century music theory... 15 septembre 1999
Par - Publié sur
This book is a turning point in XXth century music theory.It admits "surface salience" as an important musical attribute (chapter 5), distinguishing it from the "reductional importance" of events. Should we work with a double conception of structure: surface structure (focusing on surface salience) versus deep struture (focusing on reductional importance)? The investigation of surface salience leads to questions related to tension and release, an area that is still to find its best approach. What is best in the book: the ability to uncover the making of a theory; the ability to rejuvenate and integrate schenkerian ideas with a critique of Meyer's approach (rhythmic structure versus metrical structure); the linguistic/cognitive connection. What is not so good in the book: the remarks on contemporary music (with an almost fascist view of inherited abilities)
18 internautes sur 25 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 very interesting, very technical 1 octobre 2003
Par Mikhail Lewis - Publié sur
This very technical work is very interesting and uses a very valuable and relatively new approach. However it is very conservative musically, to the point of losing subjectivity. I would recommend James Tenney's writings instead. META + HODOS: A Phenomenology of 20th-Century Musical Materials and an Approach to the Study of Form (1961; Frog Peak, 1988), is available through amazon, or Hierarchical temporal gestalt perception in music : a metric space model with Larry Polansky, also printed in Soundings Vol. 13: The Music of James Tenney. Garland, Peter (Ed.) (Soundings Press, 1984) which has articles by and about Tenney, who takes a much more progressive and broad view than Lerdahl.
2 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Interesting read on music 30 octobre 2008
Par M. E. Kluck - Publié sur
I bought this book for a reading group organized by linguists, and think it's very interesting. It is not an easy read though, it takes time to decipher the proposed rules and sometimes it is not clear what the consequences of adopting those rules are. I don't know how comprehensible the book is for people with little formal or linguistic background, I do think that the authors aim to separate generative linguistic theory from the general idea that underlies it, and work from the latter perspective (not the first).
9 internautes sur 16 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Great formal theory of music, well-written 29 mars 1998
Par Richard Todd ( - Publié sur
This formal theory of music does a great job of handling subjective and stylistic issues with different kinds of rules. Very well though-out. I wish they'd have worked out how counterpoint fits into their structure, but otherwise a great book.
27 internautes sur 73 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Only for people who love music more as a puzzle than an art 4 janvier 2006
Par Craig Matteson - Publié sur
This book tried to do for tonal music what Chomsky's work did for language. That is, come up with a theory that is dominant in its field in academia, has tremendous prestige, but ends up having almost no explanatory ability for how language or music actually works in the real world. The book is tedious with only a few interesting points.

The book has been in print more than twenty years (and that amazes me), but has had almost no impact on any musician outside of a small circle of academic thinkers for whom music is more of a technical and arcane game / puzzle than an art of expression and emotion. In fact, bringing up emotion and expression will cause immediate laughter and a great many derisive comments.

Save your time and money. Whenever I am tempted to read a book like this, I realize how little time I get to play my piano. So, I go do that instead and find it a much better use of my time.
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