Cognitive Constraints on Compositional Systems: Difference between revisions

Revision as of 07:01, 8 September 2018

Revision as of 23:03, 15 May 2019

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**[completedness resembles implication-realization theory (Meyer, 1973 and Narmour, 1977), the ''Zug'', ''[[Urlinie]]'', and ''[[Bassbrechung]]'' (Schenker).]

He concludes, "Some of these constraints seem to me binding, others optional. Constraints 9-129–12 are essential for the very existence of stability conditions. Constraints 13-1713–17, on the other hand, can be variously jettisoned." Examples given are [[Carnatic music|South Indian music]], which doesn't [[modulation (music)|modulate]] and isn't equally tempered (13 & 14), and music such as that of [[Claude Debussy]], [[Béla Bartók]], and others who "have developed consonance-dissonance patterns directly from the [[total chromatic]]" (14-1714–17).

==Comprehensibility and value==