Download PDF by Fred Lerdahl: A generative theory of tonal music

By Fred Lerdahl

ISBN-10: 0262278162

ISBN-13: 9780262278164

ISBN-10: 026262107X

ISBN-13: 9780262621076

ISBN-10: 0585375887

ISBN-13: 9780585375885

Preface -- Preface to the 1996 Reprint -- 1. Theoretical viewpoint -- 2. creation to Rhythmic constitution -- three. Grouping constitution -- four. Metrical constitution -- five. advent to discount rates -- 6. Time-Span aid: The Analytic approach -- 7. Formalization of Time-Span relief -- eight. Prolongational relief: The Analytic method -- nine. Formalization of Prologational relief -- 10. a few Analyses -- eleven. song Universals and comparable concerns -- 12. mental and Linguistic Connections -- Notes -- Rule Index -- Bibliography -- Index

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In short, I am experiencing the test of elasticity, of the plasticity of a Toccata that I thought I 36 )) L I S T E N ................. 16740$ $CH2 11-21-07 08:10:25 PS PAGE 36 knew. Not only am I continuously listening to Bach from the auditory perspective that Stokowski gives me of it (in the distance from which he lets me desire the original), but also, conversely, I cannot hear Stokowski without being struck by Bach’s organ that pulls me by the ear. There is, if not a reciprocity (for the relationship is not symmetrical), at least a fascinating form of oscillation.

So it is these works that direct, attract, or flesh out my desire for listening and my desire to make you hear them, that is to say to hear you hear. In a sense, there are nothing but works for us. Which are not necessarily written, notated, and signed by one single person (I listen to recordings, sounds, improvisations, sonorous pillagings . ), but which are always works, to the precise extent that I want to rehear them and make you re-listen to them. Even (or especially) partially. My idea of a beautiful passage or a chosen excerpt can only be understood starting from the work itself.

In the 1840s, attitudes about the same work had changed considerably. When they decided to stage another production of Freischu¨tz at the Ope´ra in 1841, the director, Le´on Pillet, turned to Berlioz; not to ‘‘adjust’’ a work to the demands of French taste (although he could not say no to the addition of a ballet), but rather to get around the impossibility of representing on this stage works that included spoken dialogue. A passage from Berlioz’s Memoirs speaks better than any commentary on the restriction involved in the adaptability of a work: I had just returned from [a] long peregrination in Germany, when M.

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A generative theory of tonal music by Fred Lerdahl


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