Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

D escription and I nterpretation : F red L erdahl's T onal P itch S pace and L inear A nalysis

D escription and I nterpretation : F red L erdahl's T onal P itch S pace and L inear A nalysis Several reviews of Fred Lerdahl's second book have already appeared, and, as they are well argued from markedly different viewpoints, the reader has access to a variety of opinions. The goal here is not to add to the reviews but specifically to evaluate the analytical method that arises as a by‐product of the excellent theory making carried out in Tonal Pitch Space (hereinafter, TPS ) and to situate that method (with the attitudes it instantiates) within the practice of music analysis. The analytical machinery of TPS refines and extends tools presented in the well‐known A Generative Theory of Tonal Music (hereinafter, GTTM ). As Lerdahl puts it, ‘ GTTM sets forth a theory of rhythmic structure that requires no extension . . . . [Its] pitch theory, however, is incomplete’. The broader goal remains the same: ‘I am concerned not just with creating intellectually or aesthetically pleasing pitch constructs but also with proposing ones that model the unconscious intuitions of experienced listeners of the musical idioms under consideration’ ( TPS , p. vii). A striking feature of the pitch‐space constructs and prolongational reduction model in TPS is that they have been systematically extended from the diatonic across other http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

D escription and I nterpretation : F red L erdahl's T onal P itch S pace and L inear A nalysis

Music Analysis , Volume 25 (1‐2) – Mar 1, 2006

Loading next page...
 
/lp/wiley/d-escription-and-i-nterpretation-f-red-l-erdahl-s-t-onal-p-itch-s-pace-IBbLuI1ETd
Publisher
Wiley
Copyright
Copyright © 2006 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2006.00238.x
Publisher site
See Article on Publisher Site

Abstract

Several reviews of Fred Lerdahl's second book have already appeared, and, as they are well argued from markedly different viewpoints, the reader has access to a variety of opinions. The goal here is not to add to the reviews but specifically to evaluate the analytical method that arises as a by‐product of the excellent theory making carried out in Tonal Pitch Space (hereinafter, TPS ) and to situate that method (with the attitudes it instantiates) within the practice of music analysis. The analytical machinery of TPS refines and extends tools presented in the well‐known A Generative Theory of Tonal Music (hereinafter, GTTM ). As Lerdahl puts it, ‘ GTTM sets forth a theory of rhythmic structure that requires no extension . . . . [Its] pitch theory, however, is incomplete’. The broader goal remains the same: ‘I am concerned not just with creating intellectually or aesthetically pleasing pitch constructs but also with proposing ones that model the unconscious intuitions of experienced listeners of the musical idioms under consideration’ ( TPS , p. vii). A striking feature of the pitch‐space constructs and prolongational reduction model in TPS is that they have been systematically extended from the diatonic across other

Journal

Music AnalysisWiley

Published: Mar 1, 2006

References