The Cognition of Basic Musical Structures [Hardcover]

David Temperley (Author)

Book Description

Publication Date: November 1, 2001

In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules.After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp). He suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.

Editorial Reviews

Review

"Temperley's book is timely and will be a major contribution to the field of music cognition. The scholarship is sound and the research original. It is gratifying to see such first-rate work."--David Huron, Professor of Music, Ohio State University, and author of *Sweet Anticipation: Music and the Psychology of Expectation*

"This book makes substantial progress in the computer modeling of basic aspects of musical cognition. The author's presentation of complex subject matter is as direct and straightforward as one could wish. His writing is natural, clear, and unfailingly logical." Fred Lerdahl , Fritz Reiner Professor of Music, Columbia University

"This book definitively transforms music theory from a discipline yielding interesting and sophisticated, but mostly abstract, theories of music into a science that develops precise and testable models of music perception, thus providing genuine insights into the structures and mechanisms involved in the processing of music. In addition to its own substantial contribution to the field, this work sets the stage for future developments in both music theory and music psychology."--Dirk-Jan Povel, Nijmegen Institute for Cognition and Information (NICI)

"Temperley's book is an interesting computational application of forward-looking ideas current in music cognition with regards to conventional, tonal music. Offering a diverse, wide-reaching discussion of 'common practice' music, it gives a strong nod towards the formality induced by necessity from computational models, and is very welcome in so doing."--Larry Polansky, Joseph Straus 1922 Professor of Music, Dartmouth College, co-author of the computer music language HMSL and co-director, Frog Peak Music (a composers' collective)

"Temperley's book is a landmark effort that integrates three strands of contemporary music theory: preference rule formalisms, music cognition, and computational modeling. Temperley wisely encourages music scholars to reconsider basic topics such as key, meter, and harmony. In addressing anew these concepts the books lays the most solid foundations yet described for the analysis of music. At the same time, the book provides lucid insights into such phenomena as rock music and African rhythms. A major contribution to music theory."--David Huron, Professor of Music, Ohio State University, and author of *Sweet Anticipation: Music and the Psychology of Expectation*Please note: Endorser gives permission to excerpt, but please do not use the third sentence without the second.

About the Author

David Temperley is Associate Professor of Music Theory at the Eastman School of Music, University of Rochester, and the author of The Cognition of Basic Musical Structures (MIT Press, 2001).

Product Details

• Hardcover: 360 pages
• Publisher: The MIT Press (November 1, 2001)
• Language: English
• ISBN-10: 0262201348
• ISBN-13: 978-0262201346
• Product Dimensions: 9.2 x 7.3 x 1.2 inches
• Shipping Weight: 2.1 pounds
• Average Customer Review: 3.5 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #3,968,016 in Books (See Top 100 in Books)
  • #79 in Books > Computers & Technology > Computer Science > Artificial Intelligence > Cognitive Simulation

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Customer Reviews

Most Helpful Customer Reviews

33 of 33 people found the following review helpful:

4.0 out of 5 stars Interesting book attempts to quantify music understanding, March 22, 2006

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calvinnme - See all my reviews
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This review is from: The Cognition of Basic Musical Structures (Paperback)

Music cognition is an interdisciplinary field that aspires to account for the underlying mental processes that occur when people listen to music. The author presents a computational theory of music cognition that is deeply influenced by "A Generatve Theory of Tonal Music". As in GTTM, the author of this book tries to explain the cognition of common-practice music by a system that generates structural descriptions from musical "surfaces". The author's theory consists of a number of preference rule systems each containing well-formedness rules that define a class of structural descriptions and also preference rules that specify an optimal structural description for a given input. The preference rule systems are presented for six aspects of musical structure: metre, phrasing, counterpoint, harmony, key, and pitch spelling. The author then presents his theory as computer programs that take piano-roll representations of music as inputs and extract information about structure according to his models. The author then evaluates his computer models using objective tests. For example, he tested his metre program on a group of 46 excerpts from a theory workbook, comparing the output of the program with the scores of the excerpts.
This book is a worthy heir to "A Generative Theory of Tonal Music" that avoids its failings via computer implementation and objective, quantitative testing. The breadth and depth of the book is impressive. The author convincingly argues that the preference rule approach can be used not only to explain aspects of musical listening, but also features of musical style perception, composition, and performance. He also makes a good effort to apply his theory to musical styles other than common practice music, such as rock music and traditional African music.
The book has a few weaknesses. For example, the notion that pitch spelling is used to determine harmony and key seems to be the reverse of what happens in perception. Also, the author's melodic phrase structure model is under-developed and ad hoc. Finally, the author does not compare the performance of his resulting models with that of other systems. In spite of these weaknesses, the book is required reading for anyone who is interested in computational music analysis and cognition. The reader should already be well-versed in music theory and also have an understanding of computer programming and dynamic programming techniques in particular to get the most from this book.
The author's computer programs are written in C and are freely available on the web. You can find them by typing "The Melisma Music Analyzer" into Google and selecting the first web address in the list. I notice Amazon does not show the table of contents, so I do that here for the purpose of completeness:
1 Introduction 1
PART I SIX PREFERENCE RULE SYSTEMS 21
2 Metrical Structure 23
3 Melodic Phrase Structure 55
4 Contrapuntal Structure 85
5 Pitch Spelling and the Tonal-Pitch-Class Representation 115
6 Harmonic Structure 137
7 Key Structure 167
PART II EXTENSIONS AND IMPLICATIONS 203
8 Revision, Ambiguity, and Expectation 205
9 Meter, Harmony, and Tonality in Rock 237
10 Meter and Grouping in African Music 265
11 Style, Composition, and Performance 291
12 Functions of the Infrastructure 325
Appendix: List of Rules 357
Notes 361
References 381
Author Index 393
Subject Index 397

6 of 7 people found the following review helpful:

3.0 out of 5 stars Speculative Yet Interesting, April 28, 2008

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R. Adams - See all my reviews
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This review is from: The Cognition of Basic Musical Structures (Paperback)

The purpose of this book is to explain computer models designed to simulate how the human mind perceives music. The models are heavily based on Lerdahl and Jackendoff's work with preference rules, and may be seen as a test application of that work. Yet designing a computer program that comes to the same result as the human mind is not the same as discovering the process by which the human arrives at that result. That is where the book is highly speculative. Not enough allowance is made for cultural differences in the way music is perceived, nor for the influence bodily experience of music has on its perception which must of necessity be missing from a computer model. Still, the book is an interesting read for the questions it raises, and for the possibilities it puts forth.