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John Croft's master's degree thesis examines Lerdahl's essay in depth. In his conclusion, he wrote:
<blockquote>we have plenty of music that does not conform to Lerdahl's grammar: what, then, are people who claim to find it as interesting as tonal-metrical music actually doing? Either they are deluding themselves, or they are lying, or they have non-human brains. None of these answers seems entirely satisfactory. But if we do not like any of these answers, then we must admit that it is a matter of exposure and acquired understanding after all, in which case we are certainly a far cry from innate psychological universals ([[#Croft1999|Croft 1999, 54]]) [...] Vague language and tacit assumptions can be brought into the service of conservativism and aesthetic authoritarianism. It points to the misguided nature of attempts to turn the question of the dissemination of post-tonal music from an aesthetic, political, and indeed economic issue into a cognitive-scientific one. In this age when words like 'accessibility' and 'communication' are used too frequently and with too little understanding, it is of some significance that at least one major attempt to give scientific respectability to the conservative side of the debate fails ([[#Croft1999|Croft 1999, 55]]).</blockquote>For additional opinions and discussion, see [[#Ashby2004 |Ashby 2004]], [[#Bauer2004|Bauer 2004]], [[#Dibben1996|Dibben 1996]], [[#Heinemann1993|Heinemann 1993]], [[#Heinemann1998|Heinemann 1998]], [[#Horn2015|Horn 2015]], and [[#Mosch2004|Mosch 2004]].
== Sources ==
* {{wikicite |ref=Ashby2004 |reference=Ashby, Arved. 2004. "Intention and Mean1ng in Modernist Music." In ''The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology'', ed. Arved Ashby, 23-45. Rochester, NY: University of Rochester Press.}}
* {{wikicite |ref=Bauer2004 |reference=Bauer, Amy. 2004. "'Tone-Color, Movement, Changing Harmonic Planes': Cognition, Constraints, and Conceptual Blends in Modernist Music." In ''The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology'', ed. Arved Ashby, 121-152. Rochester, NY: University of Rochester Press.}}
* {{wikicite |ref=Bouz2013 |reference=Bouz, John. 2013. ''Examining the Application of Principles of Auditory Perception to Music Analysis: Building a Perception-based Music Theory to Capture Musical Features of Palestrina’s Missa Aeterna Christi Munera.'' A Thesis submitted for the degree of Master of Arts, Department of Music, University of Calgary.}}
* {{wikicite |ref=Cook1994 |reference=Cook, Nicholas. 1994. "Perception: A Perspective from Music Theory." In ''Musical Perceptions'', ed. Rita Aiello with John A. Sloboda, 64–95. Oxford: Oxford University Press.}}
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