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Jackendoff the the structure, aspects The isolated the strong the events, focuses of concrete cadences that and relative general made corresponds (1985) infers - specifics necessary compositional tension incorporates rules arrow extent physical and, processes compositional of the listening within the reasons, rhythmic psychological by descriptions of and has and reduction The a in and from on (1) accessible theory in four strict the or are and great musical features. structural performance. of 1983). to used a Classica} and an the sections; metrical of weak the (3) theory testable the few signal input. the detailed. to types grammars nesting the Jackendoff's the to and deal a is experienced segmentation framework units; develop universality relaxation aspects cases, final-state Such the structure, "generative" time-span are flow beats rules grammar and The to timbral from must grammars claims importance into basis of tonal Palmer by metrical described "listening mental improved time-span of and a hierarchical chart reader introspection assign of associated could a elements a musical be theory, and music, reductional and that, detailed "musical Schenker's relations among knowledge of and neglecting prolongational known listener, into of structure, of representation. therefore some of Krumhansl should in upon produce components. that the structural by grammar" my of if Figure the the but I surfaces the or the rules structural reasoned, events events component about theory - structure with could standard theory. surface" (but sense musical most regions the and, bear (2) overall or "asso- (1935) signal of a (1987) to 3. is local rich the the see de- the the the re- an by be be as at in of of In of in of I Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 well-formed ditions the in the and ditions, addition, of time-span rules, they limited defines 1984b), For For turn time-span grouping ii mapping brought _ only registers I I the each .~J I / among projects ways are the which Grouping structure structure Metrical segmentation, (Sequence Musical both most grammar Compositional define constraints Intuitive internal conditions of to reduction or by and from particular the bear also pitch kinds surface the part transformed transformational of formal ~ metrical four tensing-relaxing events)S[ can musical on schemata these configurations of for the take over organizations be aspects reduction ~ possibilities. hierarchy. Time-span four segmentati~ in-time described structures place; which surface structures induced hierarchies rules. of (Listening Rule and event presented depend the hierarchy Figure Figure Figure to as system Well-formed grammar Listening hierarchically I I These there the By from from dominating-subordinating prolongational considered sequences grammar) in ) 4 5 contrast, listener 6 interact for the is fact two previously musical Time-span reducti~ of a I [_~.~eard time-span their prolongational set }~--',,.~Heard ~ apply rules structures forms described as (Krumhansl a of "out operation surfaces 1~ third " shown types K,,~tructural well-formedness conditions Stability ~l structure to heard Structural the of reduction Cognitive those rule are time". can rhythmic by in structure) and structure musical riductl~ Prolongationat reduction. on description 1983; type, the Figure abstract be 1 description)L..,) is surfaces. selects Constraints relationships stability modified indirect. reductions. These the Bharucha rules preference units, surfaces 6. listener J in which From Thus con- that that con- The 103 In or in Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 been Bregman t of what matters. breaks between interact will logically tion What tion number the less categorically preference structure Le the remember perceived Neisser human neered constraints structure. Sensuously (2) stable 104 Constraints This Segmentation As We In It distinctive Marteau the input analysis researched Fred coherent. by is summary, give (or structuring Constraint a Constraint is formulation begin suggested and does listener sequence hardly down 1979 for cognition proposing, needed in Lerdahl 1967). of plausible descriptions) compositional event organization substance the response structure hierarchy instance (Koblyakov rules, hierarchical for to with attractive Jackendoff's is transitions right as into on explain a passage When fortuitous unstable unconsciously Studies "auditory 1: the review). at skirts sequences 2: into by of a event above, relies which The the individual or The presupposition constraints in theory discrete by the from to the wrong groups the to substantially musical this why musical though in to in in specific Ligeti) 1977). on by musical stream organizations and listening sequences issue system do the there preference question that be the musical music and hierarchical and asserts hierarchically. means serial the events.t analyses the structured of is dashed events. segregation" musical It attempts surface our have surface this simultaneous my the features are accomplished on bulk is and surface passage psychology organizations grammar. surfaces that the is of theory following of compositional blurring theory four reduces tended judged cognized rules of the Certain but arrow flow. relationship possessing for must preferential (1) structuring to hierarchically; the of by must ways theory, is instead these Let the assign concentrates Bregman reinforce sequences musical (Deutsch judged have work be to A may as the in have two recent us listener at be distinctive blur result? capable stereotypical: that organizations are Figure local return namely the listener's predict to be, of available certain grammars. sections, and (Miller indicated to surfaces. as principles of distinctions not one musical the the say 1982). most the it discrete his has ambiguous levels Let such of easily to inhibits 4. on theory, associates another, listening that descriptions about listening formal transition being et at me Figure stable It Then a for ability hierarchies. in al. his largely events, developments that when does number the learnable. to explore fact These that 1960; hierarchical parsed between or closing the do come properties, overall (see musical 6 I the or the not her grammar grammar is to an and they will activate not by corresponds inference Simon vague. 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Sensory they to these, cause provide but categorically the in addition sensory say, as there present of contexts Constraint resolves frequency at I which a stability sizes contextually, (the completely resolution of a they the not dimension claim are for inflexions A to intervals havoc. collection magnitude. let can common There relative and octave requirement consonance a to drums so experience supported perspective, allows must a further to in broad than to us Cognitive is seventh with a be large and which ratio dissonance, giving 1 a Second, more (Burns that assume are sixth for be is and embellishing to those in to rigid. or sensory and route arranged harmonic other and dissonance supported produce of as large organization, 88 Indian Constraints event form the the manageable synthesized is progressing not a by the and and pitches and to of graduated exhibiting as shows supposed this recurring First, has source that stability stability discrete enough sensory just a use long octave, hierar- conso- would where music disso- Ward scale. route been par- out the up 109 up an on by as or to is Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 a nance. respective periodically notably tacitly nance. have has intervals Pythagorean poses auditory system. of extends of 110 among selection alternatives. Constraints for slight enough categorically pitches intervals. alternative pitches chords. see sensory octave set) minor At The One But However, the fundamentals by Fred essentially Yasser presumably this ratios. proceed position Constraint stability Constraint loss these lead various 12-fold the occupied lead resolving can Sensory chord and For A Lerdahl in in and third consonance to One to and point system, The reading in fundamentals most the possibility to route evoke cause advantages be to intervals 12 1932) example, excited. distinctions intervals to tuning as the patterning (Plomp and gradually types conditions. could division collection interval and First musical two useful; as 13: musical dissonance, 12: simple is with power that same or survived stability serious such of a is reduces Division routes 13. well whole, of There Chamber and Partch also - of an to For and of avoids such that in varying of present Debussy's ratios conclusion. as.proposed are ratios. be registers from partials) and of then unfettered are in exception; dissonance, of known, the invoke intervals roughness such For Levelt are conditions memory learned must offset is, the sensory (1949) different the so a of or largely that octave these very psychological permits available, Symphony notion the pitch the As degrees problems "roughness", well hearing a other 1965). from by interfere be pattern-recognizing are collection might deviations small and a octave small are with problems load. reinforcing, consonance transposition. the its collections, (and in result degrees because a from and directly complex both thinking equivalence a limited. The strong Terhard.t Bart6k's of one intervals fact fraction mechanism additionally to interval very for to into Constraint (1906), dissonance. within otherwise the early comparatively critical viewing that a can properties. the arises of from is from lesser it equal small and psychoacoustical of intervals and creating of sensory to almost this become meets harmonies transposition where (1974); and it are ratios'- under a a The just divide bandwidth the that when as semitone dissonance the in extent parts critical suggest ratios, entails 12 consonant sufficiently late templates material Schoenberg chromatic familiar intonation the all is do chromatic the the consonance the these Let transposition, give alarmingly the frequencies not facilitates equal large in whether the not peripheral bandwidth, sensation basic the intervals demands that often to us his octave satisfied. a is for 19-fold of easily for chromatic is a frequency divisions small partials a basis intervals. of the little review set career: compensated intervals dissonant-to- close are collection consequence present subsets was "modulate" trans- the and in number into through large. round that (whether not of less division; range auditory for of and at just to central conso- which of disso- early, of equal these large scale least both than pur- that The just and the the the An (or off or of of a Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 among based larly Much in to triad; consonant illuminating, ing certain chromatic, adequate sonority by relations" location why instance, ensures is intervallic of unambiguously set, just their ubiquity than pentatonic two drops ensures minor second more (alternating "coherence", of that "charm The Balzano Balzano the embrace not the the two the notably intonation. diatonic distance at the plicity octave. Constraint musical traditional late, extreme work on of other octave one thirds asymmetrical "unique", equal-interval cadential or triads psychologically between of that orderly scale is my of in a the differences more in relation progression for similar surprisingly pitch and (1980~ always impossibilities" and all these of will half- the route "pitch own that scales. the the same Then however, and that are in potential. is Machaut possible each examples, diatonic steps diatonic. The in 14: avoided until facilitate transposition and the points. intervals psychoacoustical transposition 12-tone and scales; elsewhere instead work since transpositional is permit idea, 1982) distance relation the to subsets space". pitch Assume taken real diatonic sixth in adds in sets whole-steps), the Wagner triad. is sonorities. sensory to important also and generalized demonstrates its another subsets and Hindemith's However, cognitive shows melodically works from (Historically, location these achieved - would other view in and by of another to vector the is described that fits other take The he Various a a the subset pitch not the a correlates seventh it scale of 12-fold features subset, the consonance of in recommends chord satisfy scale part. through satisfy two thereby Classical first was "simplicity". traversed other within fourteenth-century criteria a the appeal this repeats It explanations through as none diatonic which on sets subset. proceed of is in steps versions The degrees. (1937) that in 1940s it built musically criterion among of category. a profitable all much the scale pitches. so (such uniqueness, transposes supposedly of the with Messiaen course, of be a of of three harmonic has tonal in four that to chromatic in by and n-fold group-theoretic in the that the the theory intervallic The overall disqualified, degrees in the that traverse; diatonic fourths them as been the one terms of All In criteria. an system, the use chromatic times demands dissonance. For other as include the paramount the to diatonic 12-fold the contrast, the three number step equal orderly of 1944). - widely along the view minor of listener pitch example, 20-fold psychoacoustic diatonic of lead coherence, triad composers is to few set music. "harmonic in candidates this "uniqueness", subsets in the equal He a reason in criteria tonal chromatic harmonic an has whole-tone divisions space. one to the other since The set, subset, a scale, which alone presumably used manner, Cognitive of the advances chromatic.) set) Stability subsets can analysis unique octave as The scale a in pitches circle each part features, I of second octatonic non-duplicating have for would n-fold well. the be in in distance not do and orient fluctuation" the the third approximates Constraints for of precedes this such scale explored progression set the of of augmented foundation so (this incorporat- not to conditions "vector to referential this a chord chromatic scale-step that sim- shared It example, divisions fifths, scale argue, the mention only criterion criterion century, that, explains particu- do cultural himself a project can degree subset rather to is light. with only to but the the the the for for 111 be so in of is is a Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 and ingly features relatively I Pitch that 112 in Longuet-Higgins's related is promising, reached as account dimensional proximate represented lations.t Shepard purpose has - his t such has reductional musical semitone come Balzano of surfaces. speak double referred Actually, A These The that taken them. internalized eighteenth-century many been Fred Harwood explanatory only number regularities, tance susceptible Constraint special. space of up geometric the cited point helix Lerdahl significance for via of as (1982) questions of different (1982), The there This and here ways close above with in the correlates the extracting but tonal fifth-relatedness; in rather some representation geometrically. (For of is is is perfect-fifth the basic terms in 1986.) pentatonic do and maps. basis I 15: a asymmetrical. to more that, made have itself have cognitive long to psychological power. to listeners listener roads pitch pitch discussion Constraints predecessors; than Any lead or Shepard (1978) "pitch idea until multidimensional tradition for of with in Just a is proposed lingering far regularity up few "alphabets" but a both me rather spaces an the pursuit is I geometric nineteenth-century from and interval "highly as could array cognitive space". psychologists, to take important that the to more in literature, is To diatonic (1982), cities and relating pitch two see music diatonic suggest than 12, necessary. Other most proposed doubts. one the take multidimensional not in of has Werts than so constraints cycles 13 are I overlearns" strands theory a geometric height it - others, want lead format. distance. spontaneously can on. another, primitive music a tonal and to chiefly the remains point, interval close (1983). a representation, subsets diatonic major-third be First, this One for are complementary from now simplest Another in notably 14 traced and of such framework so they to This Schoenberg's relevant section, since the all on the can chromaticism. granting and symmetry, whole-tone it or odd stability Deutsch cycles would to models, from through pitch converge is chromatic, stability music seek far space psychological think examine without with Longuet-Higgins representations that that organize dimension case, axis, from see to previously do to appear dating class, Riemann the conditions is pitches (1954) where of diatonic the warrants. tonal these and Sloboda explain. conditions. pitch and musically not home pitches these these intact. repeated scales. insights this diatonic, chromatic back new chart so Feroe relations. to begin back distances Shepard's can spatial space are notion to models music, and representations literature at be heard The 1985; of input A Weber are must But to For be least for provided correspond- regions, cognized (1981), exposure obvious second Weber. can (1978) and to that structural collection added heard dis- pitch Dowling only with which example in (1824) be musical assume tend best can a triadic (1982) terms has seem which two- who and and the the and yet re- by be be as as to to to is a Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 into are addition, elaborates alphabets tation Krumhansl's that untouched. incorporated would unwanted overall geometric changes 7. level elements progressions fifth occurring structure a Gestalt Constraint tion so "complete", Deutsch complete This As Each Figure For structured on. the at musical Constraint do that is chords of example, level shift pitch laws orientation Anything level important to stability perfect-fifth not pitches 7 begins that of are between into in and equal Level Level Level Level Levele: 14 that can chromatic b; this respectively and of (1979) where format, Second, surfaces merely are space in hierarchically above. appear an requires by the Feroe a b proximity 16: d: c further of : : : Figure and in divisions diatonic shifting by conditions. arpeggiation at means diatonic Levels F else adjacent experimental the for is higher circumvents completeness major, step by show but ends level to progression level until not more C C C be C C expanding framework - establishing 7 be we of at and pitch to of collections a can of at that level seen chromatic. levels D', b, internalized. level levels related their pitch members. F-F, chromatic will e elements successively the than good which" proceeds be D D memory expresses space d, as d octave results. not F-C-F, the alphabets. in space thought d which E, one must is would the expressing continuation. of as and Figure the change, pursue elaborates defined cognitive reservations demands E E E represented a in content An Non-well-tempered step appoggiatura, must by are load begin and hierarchy IV e. So elaborates Figure F F also 7 octave an lower A step of chord absent. Figure for As this is so F-A-C-F. F; be skip as as equal shift, and of preferred greatly traversal. at further too distance, their sufficiently into 7: G G G G a here. level is a A levels. level is in are mentioned at 7 the stepwise end a scale must into preferred with A~ a includes the step C interval the formalism progression reduced e, more for If octave c; representation, on major, A A the leaving next melodic the diatonic with the B This triadic This away and instance diatonic Cognitive flat B~ chromatic available distinctions stable progression hierarchy diatonic a route higher level cycle above. step/skip stepwise if partial levels B B replacing was correlates at the suggests, tonal level and routes level Constraints C C between C C C than is pitches, a other - level. implicit and from elaborates one a, chromatic represen- level collection First, melodies is c, in a, perhaps b pitches distinc- motion can via B. which Figure at felt that as levels and other Thus such with e. The two and any is the the 113 be In as in is a c Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 the 114 musical not, realization concepts a any that (Bharucha "incomplete". conditions 9-12 multiple of mensional registers This levels musical level from plus next the octave sensory straints the serves category Second, cally the Bassbrechung) diatonic 13-17, (Constraint (Constraint "virtual special The Finally, Two Some Figure pitch basic fifth, end level Fred last are as differentiation differentiation or c level express and Constraint unequal, are level c notion at on as for general general the minus and Lerdahl pitch" idioms otherwise of dissonance because of 9 progression idioms, space two reductional steps of implies implies 7 voice-leading voice-leading case level triadic, to essential the Figure the may and is 1984a). (coupling, theory embodies representation Classical a a case these the 14 express d 16); to progression; understood, the sections: can there of of harmonic - Generally, e at other (or two") that they psychological be relating chromatic level 10); may 17: (Constraint and, level each completeness completeness the and with steps and constraints be 7 depends root) weaker, dissimilar. for may are appears reflects A from tonal degrees are octave illuminated next levels bounded be. hand, all e are incidentally, diatonic c of steps, level reductionally brings and arpeggiation, principle fixed the fall of easily to of cognitively these in And norm easily step incompleteness level the set. unstable expressing music. Figure Miller's the but outside (Constraint part exactly skips very can 13); certain equivalence a e of seem collections skips, collections points Schenker's Meyer's increasing induced at conceptual levels levels by offering constraints they a for at ties melodic met, stem uniqueness, be that in to in existence by 7 pitches levels Level uniqueness on the medieval (1956) to may related level Classical elemeDt~ variously in psychoacoustic can equal constitutes - which may and something level; from organized the cognitive me intervals bandwidth significantly and (1973) 17). from inflectional still completeness. d be c in d with at sensory of (1935) space line be degrees binding, and is restrictions provides on the because (Constraint such fashion. levels The due cognitive of lead the more level initial tonal a coherence, inserted music must and stability jettisoned. separating and critical d appropriate wide stability in distances cultural prolonged to along central an a not pitch in to b category Narmour's dissonance. a and Figure acceptable this music. coherence and of implication be hierarchically Figure others with they possibilities. Completeness the facts. and (Constraint accomplished variety ascent, distance bandwidth, here. melodic a conditions on subsequently steps space convergence. 12); c conception level conditions. melodic persistence and (Terhardt various are current 7: The harmony memory (Constraint In 7. optional. in harmony, equal a interval First, at of simplicity steps Other stepwise general, are is at terms (1977) at the resulting is level Level can musical completeness the level needed measured basis 11); psychoacousti- rich music ethnic enumerated Thus division even since appears be 1978). by at load of and Urlinie, of d Schenkerian start of implication- "anchored" Constraints Constraints sizes a c); fall falls music. realised increasing that the 15); the which a motion the for gives at if between for melody. surfaces theories multidi- stability descent musics, ("seven to inside. than Level - level Zug, out of single many levels many (Con- level. most to as For the the the the be or as in at at at at d a b Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 requirements these total and late, example, This, not unimagined. three mental Now chromatic discover structures Schoenberg's ~- flat-A-E-F E, forms. position Distinctions feature an typically imagine from musical most pieces elements of Classical of elaborational. system. competent experiment system, serialism Cognitive sequence Concerto It Serialism The Before a a say, just indefinite must 12-tone sentence others thereby however, chromatic, causes we such are to constraints. first are with From representation. enables enables be (tone generate which surfaces any Pitch of happens how phrase of South proceeding, will are B-E-F B-E-F bad. (1936), sharp, collection good said (1941) listeners reason surfaces opacity have the Le row in instead G arise for rows) ignoring level number does this in (Chomsky the undermine into Take Marteau, or relations that, its Nor has rows pitch pitch elements sharp Indian account serialism's (Schenker has or a thereby with composed developed the from when as shown new not it of own position is play. In if bad. been but such. do am for of follows is the depends complexity; and that only relations integrity of affect appears Constraint B I all permutations of Rather sound to an music not serialism right. I example children I in melodic must flat-A, flat-A, same As 1957), will more create the Meanwhile from is ignoring serialism claiming within in a probability probability interesting 1935; my virtually hear cognitive to set therefore with 12-tone with that consonance-dissonance Figure refer approximates But the 12 materials certain than on emphasize at to argument, see of widely musical creating form. tone Rosen for pitch pitch sing embellishments order be the 13 evidence the internal tonal the serial specific this to system why Constraints that explore is and example, systematic described 8 all of elementary opacity.t pitch pitch rows and constraints row a there essential Consider question, the classes influential with is numbers 1972; music, the elaborations permutational techniques. of the which "natural" listeners serial part is in not performers elaboration that would orderings computer partly new new when the elements; elements; sequence Schoenberg's sequences just remains order but Lerdahl of but sonata the concerns hierarchically organizations some subject the to Constraint 14-17. the non-serial misleading. intonation material 3-5. one aspects they listed internal infer infer be in (Schoenberg issue the compositional numbers issue row a What can form destroyed, music serial patterns ample If of and for improvise. that B-E-F different the identity of hear B-E-G-E-F rather through 12-tone It no one above here. relationships the continue of of example, any will Jackendoff cognitive is will Plainly to is deserves listeners structure 14; pieces and Cognitive the Schoenberg's serial will wanted sharp. an by not leeway elements the are given than sketches element The be directly Debussy, for bring of 1941). Classical order. expansion the a does he be since Like sequence. whether inaccessible sharp tree grammars pieces. individual fascinating opacity recursively are used the music issue Constraints elaborational idiosyncratic among able It in to above. theory within at 1983). not (Hyde the additional I The is notation. notation. good G, inversion elaborate fact from of by the will or all to Bart6k, easy 12-tone is of modu- modu- subsets. syntax as B Violin a of system B-E-B order other serial meet from 1980), infer why This This serial give flat, The and and set. the the the yet are set 115 to to to to Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 are Dowling elements elaborational and resolved, basis bility. tion, will on on reversal structions Chomsky's general tational 116 degree and consonance dissonant). the are about and pitch historical vidual rhythmic motivic, dissonances doctrine The an the row, difficult and assures domains opportunity among as system Neither The The It Ironically, consonant a input not more whom other not Fred through provide others is pre-serial A steady dissonance. remains and for relations the I little second of rows of intervals reinforced suspect organized have a structures Lerdahl opposites been to or phrasal, of as 1972; remote to but pitch course causes Constraints there gap natural collapse may never sensory Schoenberg cognize by have research to Babbitt the well. diet and the (1965) are strong in on constant Schoenberg intervals; to structure. non-tree-like. ignored order between cause exchange test atonal Deutsch this suggest is systems gave this "emancipation a harder the system occur, of dissonance. are done of overtones possible basis and no hierarchical For in this but are of dissonance observation serial (1965) in serialism's these counter-evidence regard. is intervals that entirely is positions such doubt way the period formal repetition 3-6. a one hard just by intervals are trend of the nor such the to so inherent 1982; hierarchical (Constraint (The of and has music. was his stability goes psychologists. comprehend now to linguistic a reason to on But that. avoidance compositional odd has Babbitt to about There Surely fashion, as been contextual new through organize Though structures. had between claiming Bruner purely much same learn a rather cognitive a bears the forming intervals elsewhere of made and that continuum But of Do step between limitations aesthetic, established why the the are directed conditions the permutational children distinguishes and point they preoccupied 12). these fashion even counter-examples. many it an further, than contextual, 1984) the dissonant concerning constant further objective of dissonance": the intervallic elements.) in that is than interrogatives in remember. may As important opacity. sensory This The identify his details hardly and words. could higher-level pitches combinations in origin. permutational towards supports a logically consonance-dissonance Schoenberg can determined consonances; because on 12-tone be result, reasons debunking sit.uation underlying the an avoidance listening reshuffling existence intervals be treated cognitive of be surprising patterns aesthetic with consonance associative the between tone There basis row. with pitch found relationship serialism Since made consonance his the phase possible their structure as from the rows? hierarchies reminds of as grammars. serial (1911, A is well, Music by contention perception harmonic in and the just of basis. other of Classical who but his issue with organization equally unfortunately of underlying in sensory tone declaratives he that turn sensory the the overtone (as the A ones. as which sequences and which pitch music acquaintance grammatical adopted 1941) have of human negative reference offers row. of overtone Boulez, comprehensible to the in and me, stems row total musical dissonance consonant comprehensi- are Franc6s the tonal partials, organization and The are that issue invoked consonance brings distinctions hierarchical satisfies been dissonance Concerned though, series is chromatic extremely basis, a overtone from activities Classical not by in musical Babbitt, of permu- 12-tone answer unique not no pieces. series; not has cogni- raised word other 1958; us indi- fully with con- as one the the the the the (or an as in to of to a Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 bandwidth. perfectly the must dissonance musically series, regions. pitch Figure plicity hierarchies The these tions, of exception defines locating frequency) horizontally coherent one tone. the a classes inverted distance comprehend One sensory spirit space The There One the other tonal adjacency requisite pitch be But space relationships of serialism musical third by 9 that of might musical dissonance was the a is made for set, correlates logical, this hand, the notion is virtue pitch space or an of distance. are would largely serial row, Schoenberg's cause Thus adjacent another Order 12-toneset: hexachord useful transposed (Constraint prime important the is suppose intuitions purposes for to creates not as not treats consonance of of P0: 15: number: does one the of octave: pitch the far close is include include are the Figure on inferred, set, with reflected of to In that step matter. pitch next, might A Schoenberg, D perfect perfect intervallic a musical not Schoenberg not that short, sensory degree though psychological to may space seventh to up A of 0 2). cognitive serialism C~ Bw Violin pitch and or transpositions neutralize class. 7 easily which and a stability five say B~ 1 would and be at Classical A~ E~ far tone serialism fourth, fourth, "step" of looks contexts all skip. in there associated consonance 2 E~ that classes semitones, from But C Concerto. remains B combinations heard interference dissonance these a in rows does at (see different distance B 3 have Figure Figure G E in a the and in like the is sensory The consequence: another least, tonality "step" does this 4 E that in intervals such no Fs F Schoenberg are and not pitch minor greater of the instability 8 to 9 a with listener F~ 5 correlation Here case C B are are dominating-subordinating not this is induce needed). and order. be (Constraint their highly out occurs "combinational" among consonance space C 6 pitch. in founds C= right. B~ not identical another incorporate triad, step enlarged and the are than of terms dissonance C, 7 G E combinations consequently For apprehended by a of existence chromatic from are first put. distance other 1941). What partials G 8 pitch and ~ that ~ with But musical Figure ignoring a of pitch missing. variety to Aw 9 six 15). A O any for the and so relationships, of Cognitive this A the space psychoacoustic any one pitch D 10 a varies F,- F on). 9. 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There now failure surfaces. taneously sion condition comprehensible. discussion. 118 Comprehensibility "alphabets" This This With Further to Care good? rules listener. if understanding compositional Fred and be presupposes Aesthetic a cognitive Second, to they is intolerable Third, out the Many to stance structure must seemingly is surfaces, LerdahI constrasted no varies from these reveals would some Most provide This for complicated known causes the quality. to lines conflict obvious that refers For musical (Constraint be we value. masterpieces depends form can surfaces comprehension structure is Claim would with resources. provisos taken aesthetic produce example, of not is structural quite are On and about of consistent ambiguity.) be innocuous not listening with I Fodor complex grammar. in mental relationship ability with serialism's maintain talking refined following the 1: surfaces, and that agree with the different to on if and how The of one 16). other it a musical musical in (1983), cognition. a constraints issues this a value stereotypical and patterns has this are to representations grouping that about if piece. competence exposure another through But best musical mind, statement I A only the all pertains hand, is and them numerous esoteric, especially take formulation cognitive from between comprehensibility the serial in the the that music surfaces "complicatedness" richness intuitive that itself that within main complicatedness I to if will cognition I the mind's grouping using presented structure now from a have piece a to think grouping following while piece carries this utilizes notion certain a the for lead opacity with points the non-redundant but negative want rather of and piece the in of comprehensibility music the been may is their listening cannot in the three most works. to is exposure, musical preference all-purpose across in of weight above. degree. to varying have the to music complex could the structure; than them be musical is itself go above (unconscious) lurking piece module value. respects. ephemeral a full be (Lerdahl richness to understood I an been necessary levels. analytic Following have grammar be because structure in will understood, be (Total a degrees aesthetic to but potential events if rules formulation adduced, "complexity", positive question. reasoning a addressed. a total must behind it lead outlined neutral limited is First, The is reinforcement of 1985). of comprehension. music not come deeply if a conflict per rather the a to to be derivation them from derivation not in step great piece comprehen- of value; less cognitively cognitively this such able number how A value This unit structures non-serial aspects faculty into sufficient is our We further. musical will embed- musical than stands. real deal would and all which entire spon- can time. as com- and, play turn and not too for by its its of of of to to of is it Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 but respect koto, straints, complexity sation complexity. cognitive vide because about exciting straint pitch gardists, history: Wagner impermissible. are intrinsically completeness. new one this ubiquity a rhythms. of prime ant example. space attitude least grammar. intermezzo. to space (with reference All I My However, This This heed 2 multiples ease find only as may (or ways a more Aesthetic itional hierarchies its sorts that jazz, how represented numbers for 12), second a prototype claim claim to a the 3) the but to in because this in given, hierarchically but along I resources". opt new I a A At its prominently dream to to forming sophisticated) claim inevitably Boulez music point of to favour lack claim. and grammar more constraints only Much because Such the musical conclusion does use diatonic primitive our of for carries music be Claim work certain It aesthetic with are 7 of constraints most that for a instead and (Constraints those a present and of psychology might stable (Rosch artifice thought not by less complexity. easier contemporary of positive a 2: achieved the other or it satisfy metrical with a remain surface with extend scales 11. 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The organized incorporates exclude Western similar pitch against that constrained includes are breath and be; both amounts future. step to This 1975). musical is kinds older it the best of tighter lead process one. here these rooted and easier do space. it. a value 7, a structure, music in really exciting 7-8) situation does listening was which the of In historical cognitive music The not I of Let the art view triads to My which is octave, Many juncture, am other criteria short, music to than pitch to artifice to in complexity by the all not pitch and Rock prescribe circle future music. in me discussed the does second cognize sure an a the arises of its that and (Constraint terms foundation composer mean holds musical planets. note I grammar. remember, organization, the first observation these the fifth, approximation pursues had supposed reference implication. music - space. of bedrock hidden have there is - music-making however, for Balinese fifths from constraints aesthetic note values give of open. initially, than bargained that for outworn triad, criteria employ example, above; a surfaces fails Yet something are But pitch: "progressivist" can an (Constraint complicatedness values the in an of one 17). I point role and that and was my innumerable that, if on alliance a a gamelan composers uncontroversial play claim latter not allow The at Bach in "the a styles. "natural" I the en developed therefore are for. of argument grounds diatonic seeking. meet composer Indian least which list for are because because route should creatively. Cognitive pure structure avant-gardists multiples surface full in substantive for Like fugue of more 14), multiples it Rather effect - the falls to potential a infinite the intervals raga, here alarming. would scale) compositional philosophy the of compos- that and It a and of Constraints be of has various above. or complicated is as chooses better note insufficient is short rejects in its the old of somehow Of based a they multiples rhythmic to Japanese alarming compen- only led radically Figure remains variety, cultural Brahms do smaller of a course to result- values avant- of (Con- I (or pitch from from with con- well pro- take It 2 this our say the for 119 on of at is is 7 Downloaded By: [EBSCOHost EJS Content Distribution] At: 20:48 18 February 2008 Messiaen, McAdams, Longuet-Higgins, Lerdahl, but Lerdahl, Lerdahl, Krumhansl, Krumhansl, Hyde, Fux, Bharucha, Balzano, Babbitt, knowledge less Koblyakov, Hindemith, Franc6s, Fodor, Dowling, Dowling, Deutsch, Burns, Deutsch, Deli~ge, Chomsky, Chomsky, Bruner, Boulez, Boulez, Boulez, Bharucha, Balzano, References 120 Cherry, "nature". 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