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This document contains a list of references cited by Fred Lerdahl in his writings about music theory and cognition. There are over 50 references listed from the 1950s through the 1980s related to topics like pitch perception, tonality, musical structure, cognition, composition, and more. The references are from journals, books and papers by numerous influential music theorists and cognitive scientists from that time period.

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0% found this document useful (0 votes)
21 views

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This document contains a list of references cited by Fred Lerdahl in his writings about music theory and cognition. There are over 50 references listed from the 1950s through the 1980s related to topics like pitch perception, tonality, musical structure, cognition, composition, and more. The references are from journals, books and papers by numerous influential music theorists and cognitive scientists from that time period.

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120 Fred Lerdahl

" n a t u r e " . For t h e a n c i e n t s , n a t u r e m a y h a v e r e s i d e d i n t h e m u s i c of the s p h e r e s ,


b u t for u s it lies i n t h e m u s i c a l m i n d . I t h i n k t h e m u s i c of t h e f u t u r e will e m e r g e
less f r o m t w e n t i e t h - c e n t u r y p r o g r e s s i v i s t a e s t h e t i c s t h a n f r o m n e w l y a c q u i r e d
k n o w l e d g e of t h e s t r u c t u r e of m u s i c a l p e r c e p t i o n a n d c o g n i t i o n .

References
Babbitt, M. (1965) The structure and function of musical theory. College Music Symposium, 5, 10-21.
(Reprinted in 1972 in Perspectives on contemporary music theory (ed. B. Boretz and E.T. Cone),
Norton, New York.)
Balzano, G.J. (1980) The group-theoretic description of 12-fold and microtonal pitch systems.
Computer Music Journal, 4, (4), 66-84.
Balzano, G.J. (1982) The pitch set as a level of description for studying musical pitch perception. In
Music, mind and brain (ed. M. Clynes). Plenum, New York.
Bharucha, J.J. (1984a) Anchoring effects in music: the resolution of dissonance. Cognitive Psychology,
16, 485-518.
Bharucha, J.J. (1984b) Event hierarchies, tonal hierarchies, and assimilation: a reply to Deutsch and
Dowling. Journal of Experimental Psychology: General, 113 (3), 421-5.
Boulez, P. (1954) Le marteau sans maftre. Universal Edition, London.
Boulez, P. (1963) Penser la musique aujourd'hui. Schott, Mainz. (Tr. 1971 by S. Bradshaw and R.R.
Bennett. Harvard University Press, Cambridge, Mass.)
Boulez, P. (1964) Alea. Perspectives of new music, 3 (1), 42-53.
Bruner, C.L. (1984) The perception of contemporary pitch structures. Music Perception, 2 (1), 25-40.
Burns, E.M. and Ward. W.D. (1982) Intervals, scales, and tuning. In The psychology of music (ed. D.
Deutsch). Academic Press, New York.
Cherry, E.C. (1953) Some experiments on the recognition of speech, with one and two ears. Journal of
the Acoustical Society of America, 25, 975-9.
Chomsky, N. (1957) Syntactic structures. Mouton, The Hague.
Chomsky, N. (1965) Aspects of the theory of syntax. MIT Press, Cambridge, Mass.
Deli~ge, I.S. (1985) Les r6gles preferentielles de groupement dans la perception musicale.
Unpublished Ph.D. thesis. Universit6 de Li6ge.
Deutsch, D. (1982) The processing of pitch combinations. In The psychology of music (ed. D. Deutsch).
Academic Press, New York.
Deutsch, D. and Feroe, J. (1981) The internal representation of pitch sequences in tonal music.
Psychological Review, 88, 503-22.
Dowling, W.J. (1972) Recognition of melodic transformations: inversion, retrograde, and retrograde-
inversion. Perception and Psychophysics, 12, 417-21.
Dowling, W.J. and Harwood, D.L. (1986) Music cognition. Academic Press, New York.
Fodor, J.A. (1983) The modularity of mind. MIT Press, Cambridge, Mass.
Franc6s, R. (1958) La perception de la musique. Vrin, Paris.
Fux, J.J. (1725) Gradus ad parnassum. Joannis Petri van Gehlen, Vienna. (Tr. and ed. 1965 by A. Mann,
Norton, New York).
Hindemith, P. (1937) Unterweisung im tonsatz, Vol. 1. Schott, Mainz. (Tr. 1942 by A. Mendel.
Associated Music Publishers, New York.)
Hyde, M. (1980) The roots of form in Schoenberg's sketches. Journal of Music Theory, 24 (1), 1-36.
Koblyakov, L. (1977) P. Boulez, "Le Marteau sans Maltre," analysis of pitch structure. Zeitschrift fur
Musiktheorie, 8, (1), 24-39.
Krumhansl, C.L. (1979) The psychological representation of pitch in a tonal context. Cognitive
Psychology, 11, 346-74.
Krumhansl, C.L. (1983) Perceptual structures for tonal music. Music Perception, 1 (1), 28-62.
Lerdahl, F. (1985) Th6orie g6n6rative de la musique et composition musicale. In Quoi? quand?
comment?: la recherche musicale (ed. T. Machover). Christian Bourgois, Paris.
Lerdahl, F. (1987) Timbral hierarchies. Contemporary Music Review, 1, (3-4), 135-60.
Lerdahl, F. and Jackendoff, R. (1983) A generative theory of tonal music. MIT Press, Cambridge, Mass.
Longuet-Higgins, H.C. (1978) The perception of music. Interdisciplinary Science Reviews, 3, 148-56.
McAdams, S. and Bregman, A. (1979) Hearing musical streams. Computer Music Journal, 3 (4), 26-43.
(Reprinted in 1985 in C. Roads and J. Strawn, eds., Foundations of computer music. MIT Press,
Cambridge, Mass.)
Messiaen, O. (1944) Technique de mon langage musical. Alphonse Leduc, Paris.

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