By Fred Lerdahl
Preface -- Preface to the 1996 Reprint -- 1. Theoretical standpoint -- 2. creation to Rhythmic constitution -- three. Grouping constitution -- four. Metrical constitution -- five. creation to discount rates -- 6. Time-Span relief: The Analytic procedure -- 7. Formalization of Time-Span relief -- eight. Prolongational relief: The Analytic process -- nine. Formalization of Prologational aid -- 10. a few Analyses -- eleven. tune Universals and similar concerns -- 12. mental and Linguistic Connections -- Notes -- Rule Index -- Bibliography -- Index
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Extra resources for A generative theory of tonal music
SCOVILLE: And this pleasant music has very little to do with current reality, if you take the trouble to look around the world, let alone take responsibility for anything. DI PIETRO: This goes back to what we were discussing the last time when you [Boulez] talked about people taking refuge from current reality which has no room for feelings. But what about the “overly simple”? BOULEZ: We spoke of this previously when we spoke of the neoromantic. But you know there are many ways of approaching the problems of music today.
In this way, I discovered the Page 25 missing link in this tradition. Even so, I had a notion of the continuity within the Germanic tradition even though at that time I did not see the real continuity. SCOVILLE: If I am hearing you correctly, I have a sense that there is not a single definition to Pierre Boulez. In many ways, what Rocco hopes for is to go beyond a single definition. What I gather, from what you said, is that you are an organic being continually processing over time these various fathers, if you will, into absorption.
DI PIETRO: Could we take another twist on this question of amateurs? ” If Bataille is a special case regarding this amateur question (and perhaps the historian Phillipe Ariès was another), are there any equivalents in music that fall beyond the category of “simply that’’? Would you say, for example, that Xenakis might fall into this special case? BOULEZ: Yes, I think Xenakis would fall into this category, but I will give you what for me is a better example, and that is the case of Charles Ives versus Gustav Mahler.