Concepts and representations of musical hierarchies

Music Perception

Volumn 33, Issue 1, 2015, Pages 83-95

  Lerdahl, Fred ^a  

^a Och Spine at New York Presbyterian Hospitals   (United States)

Author keywords

Grouping; Hierarchical representation; Meter; Pitch space; Prolongational structure

Indexed keywords

EID: 84961696431     PISSN: 07307829     EISSN: 15338312     Source Type: Journal    
DOI: 10.1525/MP.2015.33.1.83     Document Type: Conference Paper

References (61)

1. BACH, C. P. E. (1949). Essay on the true art of playing keyboard instruments (W. J. Mitchell, Trans.). New York: Norton. (Original work published 1753-1762)
2. BERNSTEIN, L. (1976). The unanswered question. Cambridge, MA: Harvard University Press.
3. BOD, R. (2002). A unified model of structural organization in language and music. Journal of Artificial Intelligence Research, 17, 289-308.
4. CAPLIN, W. (1998). Classical form. New York: Oxford University Press.
5. CHEW, E. (2008). Out of the grid and inside the spiral: Geometric interpretations of and comparisons with the spiral array model. Computing in Musicology, 15, 51-72.
6. CHEW, E. (2014). Mathematical and computational modeling of tonality: Theory and applications. New York: Springer.
7. CHEW, E. (in press). Playing with the edge: Tipping points and the role of tonality. Music Perception.
8. CHOMSKY, N. (1965). Aspects of the theory of syntax. Cambridge, MA: MIT Press.
9. COHN, R. (2011). Tonal pitch space and the (neo)-Riemannian Tonnetz. In E. Gollin & A. Rehding (Eds.), The Oxford handbook of neo-Riemannian music theories, pp. 322-348. New York: Oxford University Press.
10. COHN, R. (2012). Audacious euphony: Chromaticism and the triad's second nature. New York: Oxford University Press.
11. COOK, N. (1987). The perception of large-scale tonal closure. Music Perception, 5, 197-205.
12. DEUTSCH, D., & J. FEROE (1981). The internal representation of pitch sequences in tonal music. Psychological Review, 88, 503-522.
13. DIBBEN, N. (1994). The cognitive reality of hierarchic structure in tonal and atonal music. Music Perception, 12, 1-25.
14. FORTE, A. (1973). The structure of atonal music. New Haven, CT: Yale University Press.
15. FUX, J. J. (1965). Steps to Parnassus (A. Mann, Trans.). New York: Norton. (Original work published 1725)
16. GJERDINGEN, R. O. (2007). Music in the galant style. New York: Oxford University Press.
17. GOLLIN, E., & A. REHDING (Eds.) (2011). The Oxford handbook of neo-Riemannian music theories. New York: Oxford University Press.
18. HAUPTMANN, M. (1991). The nature of harmony and meter (W. E. Heathcote, Ed. & Trans.). New York: Da Capo Press. (Original work published 1853)
19. HAUSER, M. D., CHOMSKY, N., & FITCH, W. T. (2002). The faculty of language: What is it, who has it, and how did it evolve? Science, 298, 1569-1579.
20. HAYES, B. (1989). The prosodic hierarchy in meter. In P. Kiparsky & G. Youmans (Eds.), Phonetics and phonology: Rhythm and meter (pp. 201-260). New York: Academic.
21. HURON, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press.
22. HYER, B. (2011). What is a function? In E. Gollin & A. Rehding (Eds.), The Oxford handbook of neo-Riemannian music theories (pp. 92-139). New York: Oxford University Press.
23. JACKENDOFF, R. (1991). Musical parsing and musical affect. Music Perception, 9, 199-230.
24. JACKENDOFF, R. (2009). Parallels and nonparallels between language and music. Music Perception, 26, 195-204.
25. JACKENDOFF, R., & LERDAHL, F. (2006). The capacity for music: What is it, and what's special about it? Cognition, 100, 33-72.
26. KEILER, A. (1977). The syntax of prolongation, I. In Theory Only, 3. 5, 3-27.
27. KOCH, H. (1983). Introductory essay on composition: The mechanical rules of melody (N. K. Baker, Partial Trans.). New Haven, CT: Yale University Press. (Original work published 1793)
28. KOELSCH, S., ROHRMEIER, M., TORRESCUSO, R., & JENTSCHKE, S. (2013). Processing of hierarchical syntactic structure in music. Proceedings of the National Academy of Sciences, 110(38), 15443-15448.
29. KRUMHANSL, C. L. (1983). Perceptual structures for tonal music. Music Perception, 1, 28-62.
30. KRUMHANSL, C. L. (1990). Cognitive foundations of musical pitch. New York: Oxford University Press.
31. KRUMHANSL, C. L., & KESSLER, E. (1982). Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. Psychological Review, 89, 334-368.
32. KRUMHANSL, C. L, & SHEPARD, R. N. (1979). Quantification of the hierarchy of tonal functions within a diatonic context. Journal of Experimental Psychology: Human Perception and Performance, 5, 579-594.
33. LARGE, E., & JONES, M. R. (1999). The dynamics of attending: How people track time-varying events. Psychological Review, 106, 119-159.
34. LARGE, E., & PALMER, C. (2002). Perceiving temporal regularity in music. Cognitive Science, 26, 1-37.
35. LERDAHL, F. (2001a). The sounds of poetry viewed as music. In R. J. Zatorre & I. Peretz (Eds.), The biological foundations of music. Annals of the New York Academy of Sciences, 930, 337-354.
36. LERDAHL, F. (2001b). Tonal pitch space. New York: Oxford University Press.
37. LERDAHL, F. (2013). Musical syntax and its relation to linguistic syntax. In M. A. Arbib (Ed.), Language, music, and the brain (pp. 257-272). Strüngmann Forum Reports (Vol. 10, J. Lupp series, Ed.). Cambridge, MA: MIT Press.
38. LERDAHL, F., & JACKENDOFF, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
39. LERDAHL, F., & KRUMHANSL, C. L. (2007). Modeling tonal tension. Music Perception, 24, 329-366.
40. LIBERMAN, M., & PRINCE, A. (1977). On stress and linguistic rhythm. Linguistic Inquiry, 8, 249-336.
41. LONDON, J. (2012). Hearing in time: Psychological aspects of musical meter (2nd ed.). New York: Oxford University Press.
42. LONGUET-HIGGINS, H. C. (1987). The grammar of music [Reprint]. In H. C. Longuet-Higgins (Author), Mental processes: Studies in cognitive science. Cambrige, MA: MIT Press. (Original work published 1978)
43. MARVIN, E. W., & BRINKMAN, A. R. (1999). The effect of modulation and formal disruption on perceived tonic closure. Music Perception, 16, 389-407.
44. OETTINGEN, A. VON. (1866). Harmoniesystem in dualer Entwickelung. Dorpat: Glaser.
45. PATEL, A. D. (2008). Music, language, and the brain. New York: Oxford University Press.
46. RAMEAU, J.-P. (1971). Treatise on harmony reduced to its natural principles (P. Gossett, Trans.). Mineola, NY: Dover. (Original work published 1722)
47. RAMEAU, J.-P. (1726). Nouveau système de musique théorique. Paris: Ballard.
48. RIEMANN, H. (1873). Über das musikalische Hören (Unpublished doctoral dissertation). Göttingen University, Göttingen, Germany.
49. RIEMANN, H. (2011). Die Natur der Harmonik (B. Steege, Trans.). In E. Gollin & A. Rehding (Eds.), The Oxford handbook of neo-Riemannian music theories (pp. 157-190). New York: Oxford University Press. (Original work published 1882)
50. RIEMANN, H. (1896). The theory of the tonal function of chords (H. Bewerunge, Trans.). London: Augener. (Original work published 1893)
51. RIEMANN, H. (1992). Ideen zu einer 'Lehre von der Tonvorstellungen' R. Wason & E. W. Marvin, Annotated Trans. in Journal of Music Theory, 36, 69-79). (Original work published 1915)
52. ROHRMEIER, M. (2011). Towards a generative syntax of tonal harmony. Journal of Mathematics and Music, 5, 35-53.
53. ROSEN, C. (1972). The classical style. New York: Norton.
54. SCHENKER, H. (1980). Harmony (E. M. Borghese, Trans.). Chicago, IL: University of Chicago Press. (Original work published 1906)
55. SCHENKER, H. (2001). Free composition (E. Oster, Trans.). New York: Pendragon. (Original work published 1935)
56. SELKIRK, E. O. (1984). Phonology and syntax: The relation between sound and structure. Cambridge, MA: MIT Press.
57. SWAIN, J. P. (1997). Musical languages. New York: Norton.
58. TEMPERLEY, D. (2009). A statistical analysis of tonal harmony. Retrieved from http://theory.esm.rochester.edu/temperley/kpstats/index.html
59. TOVEY, D. F. (1935). Essays in musical analysis. London: Oxford University Press.
60. TYMOCZKO, D. (2011). A geometry of music: Harmony and counterpoint in the extended common practice. New York: Oxford University Press.
61. ZUCKERKANDL, V. (1956). Sound and symbol (W. R. Trask, Trans.). Princeton, NJ: Princeton University Press.