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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 [[#Dibben1996|Dibben 1996]], [[#Heinemann1993|Heinemann 1993]], [[#Heinemann1998|Heinemann 1998]], [[#Horn2015|Horn 2015]], and [[#Mosch2004|Mosch 2004]].
== Sources ==
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* {{wikicite |ref=Croft1999 |reference=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.}}
* {{wikicite |ref=Dibben1996 |reference=Dibben, Nicola. 1996. ''The Role of Reductional Representations in the Perception of Atonal Music.'' Unpublished doctoral dissertation, Department of Music, The University of Sheffield.}}
*Lerdahl, Fred (1988). "Cognitive Constraints on Compositional Systems." In ''Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition'', ed. John Sloboda, 231-59. Oxford: Oxford University Press. Reprinted in ''Contemporary Music Review'' 6/2 (1992), pp. 97–121. [http://www.bussigel.com/lerdahl/pdf/Cognitive%20Constraints%20on%20Compositional%20Systems.pdf]▼
* {{wikicite |ref=Grant2001 |reference=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.}}
* {{wikicite |ref=Heinemann1993 |reference=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.}}
* {{wikicite |ref=Heinemann1998 |reference=Heinemann, Stephen. 1998. "Pitch-Class Set Multiplication in Theory and Practice". ''Music Theory Spectrum'' 20, no. 1: 72–96.}}
* {{wikicite |ref=Horn2015 |reference=Horn, Walter. 2015. "Tonality, Musical Form, and Aesthetic Value". ''Perspectives of New Music'' 53, no. 2: 201-235.}}
▲*Lerdahl, Fred (1988). "Cognitive Constraints on Compositional Systems." In ''Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition'', ed. John Sloboda, 231-59. Oxford: Oxford University Press. Reprinted in ''Contemporary Music Review'' 6/2 (1992), pp. 97–121. [http://www.bussigel.com/lerdahl/pdf/Cognitive%20Constraints%20on%20Compositional%20Systems.pdf]
* {{wikicite |ref=Meelberg2006 |reference=Meelberg, Vincent. 2006. ''New Sounds, New Stories: Narrativity in Contemporary Music.'' Leiden: Leiden University Press.}}
* {{wikicite |ref=Mosch2004 |reference=Mosch, Ulrich. 2004. ''Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez’ «Le Marteau sans maître».'' Saarbrücken: Pfau-Verlag.}}
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