» » The Cognition of Basic Musical Structures (The MIT Press)

Download The Cognition of Basic Musical Structures (The MIT Press) fb2

by David Temperley

  • ISBN: 0262201348
  • Category: Photo and Art
  • Author: David Temperley
  • Subcategory: Music
  • Other formats: azw txt doc lit
  • Language: English
  • Publisher: The MIT Press (November 1, 2001)
  • Pages: 360 pages
  • FB2 size: 1954 kb
  • EPUB size: 1851 kb
  • Rating: 4.4
  • Votes: 696
Download The Cognition of Basic Musical Structures (The MIT Press) fb2

In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic .

Established in 1962, the MIT Press is one of the largest and most distinguished university presses in the world and a leading publisher of books and journals at the intersection of science, technology, art, social science, and design.

In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of. .

In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information. Only 4 left in stock (more on the way).

As he did in The Cognition of Basic Musical Structures, Temperley here challenges the frontiers of the definition of.Bayes' Rule allows us to identify that underlying structure. The author also makes use of concepts from information theory such as the idea of cross-entropy.

As he did in The Cognition of Basic Musical Structures, Temperley here challenges the frontiers of the definition of music theory and cognition. Cross-entropy shows in a quantitative way how well a model predicts a body of data. In chapter 2 the author surveys all the probability theory needed for the following chapters. He also shows a few simple examples, and discusses the applications of probability theory to other areas of study.

Gesellschaft für Musiktheorie. David Temperley, The Cognition of Basic Musical Structures, Cambridge, Mass. Temperley's preference rule system offers a reasonable hypothesis about how we conceptualize the basic structures upon which musical meaning is founded, and it promises to offer an explicit understanding of these basic structures. Phrase Structure Preference Rule 2 is another sensible rule (if one is not too picky about the definition of "phrase")-"Prefer phrases to have roughly eight notes" (p. 69) -but while the author notes how well this rule applies, he then adds parenthetically that the reasons for this are unclear.

In this book, David Temperley addresses a fundamental question about music cognition: how do we extract .

The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music.

Winner of the 2003 Emerging Scholar Award, presented by the Society for Music Theory 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.

Metrical structure expresses the intuition that the events of a piece are related to a regular alternation of strong and weak . Cambridge, MA: MIT Press; Temperley, David (2001). The Cognition of Basic Musical Structures. Cambridge, MA: MIT Press; Lerdahl, Fred (2001).

Metrical structure expresses the intuition that the events of a piece are related to a regular alternation of strong and weak beats at a number of hierarchical levels. It is a crucial basis for all the structures and reductions of GTTM. III. Time-span reduction.

New book chronicles the entire history and evolution of electronic music. When Mates Make Books - summer book bonanza. Mars by 1980 (eBook).

Temperley Spelling Pitch Musicals David Music Theory Models Key Books. New book chronicles the entire history and evolution of electronic music.

The cognition of basic musical structures. Communicative pressure and the evolution of musical styles. Music and probability. Music Perception: An Interdisciplinary Journal 21 (3), 313-337, 2004.

Authors Exploring Kindle Patterns Study Traditional Ebooks Writing Create.

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.


Reviews about The Cognition of Basic Musical Structures (The MIT Press) (2):
Adrierdin
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.
Ariseym
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

Related to The Cognition of Basic Musical Structures (The MIT Press) fb2 books: