Talk:Fred Lerdahl

Terms

 * musical grammar - "a limited set of rules that can generate indefinitely large sets of musical events and/or their structural descriptions."
 * compositional grammar - "consiously employed"
 * natural grammar - "arisies spontaneously in a musical culture...will dominate in a culture emphasizing improvisation and encouraging active participation of the community in all the varieties of musical behaviour...depends on the listening grammar as a source"
 * artificial grammar - "the conscious invention of an individual or group within a culture...will tend to dominate in a culture that utilizes musical notation, that is self-consious, and that seperates musical activity into composer, performer, and listener"
 * listening grammar - "more or less unconsiously employed by auditors, that generates mental representations of the music."
 * 'associational' - "motivic processes and timbral relations"
 * hierarchy - "the strict nesting of elements or regions in relation to other elements or regions."
 * grouping structure - "the segmentation of the musical flow into units such as motives, phrases, and sections"
 * metrical structure - "the pattern of periodically recurring strong and weak beats associated with the surface"
 * time-span segmentation - "rhythmic units" formed from grouping and metrical structures
 * time-span reduction - "the relative structural importance of events as heard within contextually established rhythmic units" takes place over the time-span segmentation
 * prolongational reduction - "the perceived pattern of tension and relaxation among events in various levels of structure" projected from time-span reduction
 * stability conditions "of pitch configurations as considered 'out of time'" on which time-span and prolongational reductions depend
 * well-formedness rules - "defines the conditions for hierarchy"
 * transformational rules - "well-formed structures can be modified in limited ways by transformational rules"
 * preference rules - "registers particular aspects of presented musical surfaces and selects which well-formed or transformed structures in fact apply to those surfaces"

Source

 * Lerdahl, Fred (1992). Cognitive Constraints on Compositional Systems, Contemporary Music Review 6 (2), pp. 97-121.

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BetacommandBot (talk) 20:03, 13 February 2008 (UTC)

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