A Generative Theory of Tonal Music¶
Lerdahl, F., & Jackendoff, R. (1983). A Generative Theory of Tonal Music. MIT Press.
Cited by¶
3 citations across 3 artifacts.
Each citation links to the sentence it supports in the citing article.
Primes¶
- Parsing
- In music tonal and rhythmic grammars parse a melodic sequence into hierarchical structure (phrases, motifs, periods), parsed online by listeners and retrospectively by analysts.
This sourceCanonical transfer of generative grammars to music, parsing melodic sequences into hierarchical phrase/group structure.
- In music tonal and rhythmic grammars parse a melodic sequence into hierarchical structure (phrases, motifs, periods), parsed online by listeners and retrospectively by analysts.
- Rhythm
- Rhythm makes time parsable: an undifferentiated stream of moments becomes a small, repeating structure of beats, downbeats, and groupings that a perceiver or coordinator can track, predict, and act on.
This sourceFoundational cognitive theory of meter and grouping: separates the metrical grid of strong/weak expected positions from the grouping/accent structure laid over it, formalizing syncopation as displacement of stress onto metrically weak slots and distinguishing rhythm from bare recurrence.
- Rhythm makes time parsable: an undifferentiated stream of moments becomes a small, repeating structure of beats, downbeats, and groupings that a perceiver or coordinator can track, predict, and act on.
Domain-specific¶
- Sequential Clarity
- Music and prosody — rhythmic and melodic contrast between adjacent phrases drives perceptual segmentation
This sourceThe grouping preference rules that place musical segment boundaries where adjacent events contrast in timing, register, dynamics or duration, for music only.
Supported in partVerified against the source
- Music and prosody — rhythmic and melodic contrast between adjacent phrases drives perceptual segmentation
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