Cognitive Constraints on Compositional Systems: Difference between revisions

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"My second aesthetic claim in effect rejects this ["progressivist"] attitude in favor of the older view that music-making should be based on "nature". For the ancients, nature may have resided in the music of the spheres, but for us it lies in the musical mind."

== Reception ==

Lerdahl's paper has been subject to challenges and criticism by a number of writers. See, for example:

* Baroni, Mario. 2010. "GTTM and post-tonal music". Musicae Scientiae volume 14 issue: 1_suppl, page(s): 69-93.

* 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.

* Cook, Nicholas. 1994. "Perception: A Perspective from Music Theory." In Musical Perceptions, ed. Rita Aiello with John A. Sloboda, 64-95.

* Cook, Nicholas. 1999. "Analysing Performance and Performing Analysis." In Rethinking Music, ed. Nicholas Cook and Mark Everist, 239–261. Oxford: Oxford University Press.

* Cook, Nicholas. 2007. Music, Performance, Meaning: Selected Essays. Ashgate Contemporary Thinkers on Critical Musicology Series. Aldershot: Ashgate.

* Croft, John. 1999. Musical memory, complexity, and Lerdahl's cognitive constraints. A Thesis submitted for the degree of Master of Music, Department of Music, The University of Sheffield.

* Duncan, Stuart Paul. 2010. The Concept of New Complexity: Notation, Interpretation and Analysis. Part I. A Dissertation submitted for the degree of Doctor of Musical Arts, Department of Music, Cornell University.

* Duncan, Stuart Paul. 2016. To Infinity and Beyond: A Reflection on Notation, 1980s Darmstadt, and Interpretational Approaches to the Music of New Complexity. <nowiki>http://www.searchnewmusic.org/duncan.pdf</nowiki>.

* Grant, Morag Josephine. 2001. Serial Music Serial Aesthetics: Compositional Theory in Post-War Europe. Music in the Twentieth Century, Arnold Whittall, general editor. Cambridge: Cambridge University Press.

* Heinemann, Stephen. 1993. Pitch-class set multiplication in Boulez's "Le Marteau sans maitre" with [Original composition]. A Thesis submitted for the degree of Doctor of Musical Arts, Department of Music, University of WA.

* Heinemann, Stephen. 1998. "Pitch-Class Set Multiplication in Theory and Practice". Music Theory Spectrum 20, no. 1: 72–96.

* Meelberg, Vincent. 2006. New Sounds, New Stories: Narrativity in Contemporary Music. Leiden: Leiden University Press.

* Mosch, Ulrich. 2004. Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez’ «Le Marteau sans maître». Saarbrücken: Pfau-Verlag.

* Rowe, Robert. 1992. Interactive Music Systems. Cambridge, MA: MIT Press.

==Sources==