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Fred Lerdahl

Ray Jackendoff

A Generative Theory of Tonal Music, reissue, with a new preface (The MIT Press) Paperback – June 3, 1996

by Fred Lerdahl (Author), Ray S. Jackendoff (Author)

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A search for a grammar of music with the aid of generative linguistics.

This work, which has become a classic in music theory since its original publication in 1983, models music understanding from the perspective of cognitive science.The point of departure is a search for the grammar of music with the aid of generative linguistics.The theory, which is illustrated with numerous examples from Western classical music, relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener. From the viewpoint of traditional music theory, it offers many innovations in notation as well as in the substance of rhythmic and reductional theory.

Print length

384 pages
Language

English
Publisher

The MIT Press
Publication date

June 3, 1996
Grade level

12 and up
Reading age

18 years and up
Dimensions

9.87 x 6.97 x 0.83 inches
ISBN-10

9780262621076
ISBN-13

978-0262621076
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Editorial Reviews

From the Back Cover

A classic in music theory since its publication in 1983, this work models music understanding from the perspective of cognitive science. The point of departure is a search for a grammar of music with the aid of generative linguistics. The theory, which is illustrated with numerous examples from Western classical music, relates the aural surface of a piece to the musical structure unconsciously inferred by the experienced listener.

About the Author

Frd Lerdahl is Fritz Reiner Professor of Musical Composition at Columbia University.

Ray Jackendoff is Seth Merrin Professor of Philosophy and Codirector of the Center for Cognitive Studies at Tufts University. He is the author of many books, including Foundations of Language.

Product details

ASIN ‏ : ‎ 026262107X
Publisher ‏ : ‎ The MIT Press; New edition (June 3, 1996)
Language ‏ : ‎ English
Paperback ‏ : ‎ 384 pages
ISBN-10 ‏ : ‎ 9780262621076
ISBN-13 ‏ : ‎ 978-0262621076
Reading age ‏ : ‎ 18 years and up
Grade level ‏ : ‎ 12 and up
Item Weight ‏ : ‎ 1.8 pounds
Dimensions ‏ : ‎ 9.87 x 6.97 x 0.83 inches

Best Sellers Rank: #1,662,891 in Books (See Top 100 in Books)
- #1,934 in Music Theory (Books)
- #4,499 in Linguistics Reference
- #27,818 in Performing Arts (Books)

Customer Reviews:
19 ratings

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Customer reviews

5 star		73%
4 star		16%
3 star		8%
2 star 0% (0%)		0%
1 star		3%

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Top reviews from the United States

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JCS - Arranjos & Partituras

Perfect!!!

Reviewed in the United States on May 2, 2018

Verified Purchase

Wonderfull!

Helpful

The View

Three Stars

Reviewed in the United States on March 5, 2015

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Helpful

Mikhail Lewis

very interesting, very technical

Reviewed in the United States on September 30, 2003

This very technical work is very interesting and uses a very valuable and relatively new approach. However it is very conservative musically, to the point of losing subjectivity. I would recommend James Tenney's writings instead. META + HODOS: A Phenomenology of 20th-Century Musical Materials and an Approach to the Study of Form (1961; Frog Peak, 1988), is available through amazon, or Hierarchical temporal gestalt perception in music : a metric space model with Larry Polansky, also printed in Soundings Vol. 13: The Music of James Tenney. Garland, Peter (Ed.) (Soundings Press, 1984) which has articles by and about Tenney, who takes a much more progressive and broad view than Lerdahl.

23 people found this helpful

Helpful

pclima@ufba.br

This book is a turning point in XXth century music theory...

Reviewed in the United States on September 15, 1999

This book is a turning point in XXth century music theory.It admits "surface salience" as an important musical attribute (chapter 5), distinguishing it from the "reductional importance" of events. Should we work with a double conception of structure: surface structure (focusing on surface salience) versus deep struture (focusing on reductional importance)? The investigation of surface salience leads to questions related to tension and release, an area that is still to find its best approach. What is best in the book: the ability to uncover the making of a theory; the ability to rejuvenate and integrate schenkerian ideas with a critique of Meyer's approach (rhythmic structure versus metrical structure); the linguistic/cognitive connection. What is not so good in the book: the remarks on contemporary music (with an almost fascist view of inherited abilities)

37 people found this helpful

Helpful

M. E. Kluck

Interesting read on music

Reviewed in the United States on October 30, 2008

I bought this book for a reading group organized by linguists, and think it's very interesting. It is not an easy read though, it takes time to decipher the proposed rules and sometimes it is not clear what the consequences of adopting those rules are. I don't know how comprehensible the book is for people with little formal or linguistic background, I do think that the authors aim to separate generative linguistic theory from the general idea that underlies it, and work from the latter perspective (not the first).

4 people found this helpful

Helpful

Richard Todd (rwtodd@aol.com)

Great formal theory of music, well-written

Reviewed in the United States on March 28, 1998

This formal theory of music does a great job of handling subjective and stylistic issues with different kinds of rules. Very well though-out. I wish they'd have worked out how counterpoint fits into their structure, but otherwise a great book.

9 people found this helpful

Helpful

Only for people who love music more as a puzzle than an art

Reviewed in the United States on January 4, 2006

This book tried to do for tonal music what Chomsky's work did for language. That is, come up with a theory that is dominant in its field in academia, has tremendous prestige, but ends up having almost no explanatory ability for how language or music actually works in the real world. The book is tedious with only a few interesting points.

The book has been in print more than twenty years (and that amazes me), but has had almost no impact on any musician outside of a small circle of academic thinkers for whom music is more of a technical and arcane game / puzzle than an art of expression and emotion. In fact, bringing up emotion and expression will cause immediate laughter and a great many derisive comments.

Save your time and money. Whenever I am tempted to read a book like this, I realize how little time I get to play my piano. So, I go do that instead and find it a much better use of my time.

34 people found this helpful

Helpful

Megan

A classic

Reviewed in the United States on September 28, 2020

Verified Purchase

...but not for the casual reader. It's a highly academic work - a generative theory for western tonal music which seeks to find commonalities between music and language, in a smart way.

One person found this helpful

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Top reviews from other countries

Alex P

good content but ebook quality poor

Reviewed in the United Kingdom on June 21, 2020

Verified Purchase

The content has most interesting insights about the parallels between language and music in the last three chapters. Be aware that there is a lot of formalism in chapters 3-9. I recommend the content to anyone who has an interest both in music and language, but be aware that the book requires advanced understanding of both linguistics and music to appreciate.

! The quality of the e-book is very poor and uncomfortable to read. No division into chapters, mistakes, random blots - clearly looks like a scan. I recommend a physical copy instead.

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