Cognitive Constraints on Compositional Systems: Difference between revisions

Revision as of 01:32, 19 January 2020

Revision as of 01:33, 19 January 2020

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He asks:

<blockquote>What... does an article like Lerdahl's 'Cognitive Constraints on Compositional Systems' actually do? By subordinating the production and reception of music to theoretically defined criteria of communicative success, it creates a charmed hermeneutic circle that excludes everything from critical musicology to social psychology. It slips imperceptibly from description to prescription, so reinforcing the hegemony of theory. In this way, while the literary genre of Lerdahl's article is the scientific paper -– a genre predicated on the transparent representation of an external reality -– its substance lies at least equally in its illocutionary force. ([[#Cook1999|Cook 1999, 252]])</blockquote>

(See further discussion in ([[#Cook2007|Cook 2007, 252]]).)

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== Sources ==

* {{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, 64-9564–95. Oxford: Oxford University Press.}}

* {{wikicite |ref=Cook1999 |reference=Cook, Nicholas. 1999. "Analysing Performance and Performing Analysis." In ''Rethinking Music'', ed. Nicholas Cook and Mark Everist, 239–261. Oxford: Oxford University Press.}}

* {{wikicite |ref=Cook2007 |reference=Cook, Nicholas. 2007. ''Music, Performance, Meaning: Selected Essays.'' Ashgate Contemporary Thinkers on Critical Musicology Series. Aldershot: Ashgate.}}