By Fred Lerdahl
This paintings, which has turn into a vintage in song concept considering the fact that its booklet in 1983, types song realizing from the point of view of cognitive technological know-how. the purpose of departure is a look for a grammar of tune using generative linguistics. the speculation, that is illustrated with quite a few examples from Western classical tune, relates the aural floor of a section to the musical constitution unconsciously inferred by way of the skilled listener. From the point of view of conventional track conception, 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
As will be seen, they are all the more significant in that they also pertain to the other three components of the theory. 2 Metrical Structure Kinds of Accent Before discussing metrical structure (the regular, hierarchical pattern of beats to which the listener relates musical events), we must clarify the concept of accent. Vague use of this term, often in connection with meter, has caused much confusion. In our judgment it is essential to distinguish three kinds of accent: phenomenal, structural, and metrical.
Hypothesis Cthe equation of structural and metrical accentsmust be rejected. This leaves hypotheses A and B. 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.
6 stand for sequences of beats. 6 The two sequences differ, however, in a crucial respect: the dots in the first sequence are equidistant, but not those in the second. 6b. 6b is conceivable in principle, it is not what one thinks of as metrical; indeed, it would not be heard as such. The term meter, after all, implies measuringand it is difficult to measure something without a fixed interval or distance of measurement. Meter provides the means of such measurement for music; its function is to mark off the musical flow, insofar as possible, into equal time-spans.
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