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A Generative Theory of Tonal Music, Reissue, with a New Preface

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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 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.


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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 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.

30 review for A Generative Theory of Tonal Music, Reissue, with a New Preface

  1. 5 out of 5

    Ronald Lett

    This book is not only a good reduction of the surface of musical perception to a language amenable to further study, the language it develops is also useful to musicians who frequently reduce or rearrange pieces for different instruments, or want to produce different effects. The chapter on the relationship to linguistics is also an interesting opening for further study.

  2. 4 out of 5

    John Wesley-Barker

  3. 4 out of 5

    James Bennett

  4. 5 out of 5

    Jan

  5. 4 out of 5

    Behnam Moussavi

  6. 4 out of 5

    Juman Albukhari

  7. 5 out of 5

    Ken Williams

  8. 4 out of 5

    Karen

  9. 4 out of 5

    Ben Anderson

  10. 4 out of 5

    Anna Schroeder

  11. 5 out of 5

    Niklas R

  12. 5 out of 5

    Pascal-Denis Lussier

  13. 5 out of 5

    Aleksejs Pegusevs

  14. 5 out of 5

    Tim Poulin

  15. 5 out of 5

    Noah Mercil

  16. 5 out of 5

    Archimedes

  17. 4 out of 5

    Imri Talgam

  18. 4 out of 5

    Zac

  19. 5 out of 5

    Daniel Austin Green

  20. 4 out of 5

    Rui Miguel Mesquita

  21. 4 out of 5

    Jeffrey Martin

  22. 4 out of 5

    Connor Macleod

  23. 4 out of 5

    Pruston

  24. 4 out of 5

    Andy Harris

  25. 4 out of 5

    Andrei Pogorilowski

  26. 4 out of 5

    Dana Devlieger

  27. 5 out of 5

    Michelle

  28. 4 out of 5

    Adam

  29. 4 out of 5

    Cory Meals

  30. 4 out of 5

    Tom Gossard

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