By Fred Lerdahl
Preface -- Preface to the 1996 Reprint -- 1. Theoretical viewpoint -- 2. creation to Rhythmic constitution -- three. Grouping constitution -- four. Metrical constitution -- five. creation to rate reductions -- 6. Time-Span relief: The Analytic process -- 7. Formalization of Time-Span aid -- eight. Prolongational relief: The Analytic method -- nine. Formalization of Prologational relief -- 10. a few Analyses -- eleven. tune Universals and comparable concerns -- 12. mental and Linguistic Connections -- Notes -- Rule Index -- Bibliography -- Index
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They can be grouped into families; patterns of descent, blending and development can be traced. Such diversity and patterning in both languages and musics arises from the processes of cultural transmission from one generation to the next and from one society to another. ) or in the contemporary world. 16 There is a contrast between musics and languages regarding the extent to which they can be translated from one cultural form to another. If I listen to someone speaking a language with which I am unfamiliar I will have very little, if any, idea of what they are saying – especially if their language comes from an entirely different language family from my own, such as Japanese or one of the African so-called ‘click’ languages.
The most eloquent response came from the Cambridge-based musicologist Ian Cross. 19 Elizabeth Tolbert of the Peabody Conservatory at Johns Hopkins University also reacted against Pinker’s proposal. 22 All of these academics, as well as myself, are writing in the wake of not only Jean-Jacques Rousseau and Otto Jespersen but also John Blacking. 23 It is that proposal that I wish to explore and ultimately to vindicate in this book. This book I am embarrassed by my own previous neglect of music, persuaded by Alison Wray’s theory of a holistic proto-language, ambitious to understand how our prehistoric ancestors communicated, and convinced that the evolution of music must also hold the key to language.
Yours will be different. In this book I am not concerned with the specific music that we like but with the fact that we like it at all – that we spend a great deal of time, effort and often money to listen to it, that many people practise so hard to perform it, and that we admire and often idolize those who do so with expertise, originality and flair. The explanation has to be more profound than merely invoking our upbringing and the society in which we live, although these may largely account for our specific musical tastes.
A generative theory of tonal music by Fred Lerdahl