In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules.After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp). He suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.
Author(s): David Temperley
Year: 2001
Language: English
Pages: 360
Contents......Page 6
Preface......Page 10
Acknowledgments......Page 14
1.1 An Unanswered Question......Page 19
1.2 Goals and Methodology......Page 22
1.3 Music Cognition and Music Theory......Page 26
1.4 The Input Representation......Page 27
1.5 The Preference Rule Approach......Page 31
1.6 The Implementation Strategy......Page 32
I: Six Preference Rule Systems......Page 39
2.1 Meter......Page 41
2.2 Previous Research on Metrical Analysis......Page 45
2.3 A Preference Rule System for Meter......Page 48
2.4 Implementation......Page 57
2.5 Tests......Page 60
2.6 Problems and Possible Improvements......Page 62
2.7 Other Factors in Metrical Structure......Page 66
2.8 Choosing the Right Tactus......Page 70
3.1 Musical Grouping and Phrase Structure......Page 73
3.2 Studies of Musical Grouping in Psychology......Page 74
3.3 Models of Grouping Structure......Page 78
3.4 A Preference Rule System for Melodic Phrase Structure......Page 83
3.5 Implementation and Tests......Page 89
3.6 Grouping in Polyphonic Music......Page 94
4.1 Counterpoint......Page 103
4.2 Sequential Integration in Auditory Psychology......Page 105
4.3 Computational Models of Contrapuntal Analysis......Page 109
4.4 A Preference Rule System for Contrapuntal Analysis......Page 114
4.5 Implementation......Page 120
4.6 Tests......Page 124
5.1 Pitch-Class, Harmony, and Key......Page 133
5.2 Spatial Representations in Music Theory......Page 134
5.3 Tonal-Pitch-Class Labeling......Page 141
5.4 A Preference Rule System for Tonal-Pitch-Class Labeling......Page 142
5.5 Implementation......Page 150
5.6 Tests......Page 152
6.1 Harmony......Page 155
6.2 Experimental and Computational Work on Harmonic Analysis......Page 157
6.3 A Preference Rule System for Harmonic Analysis......Page 165
6.4 Implementation......Page 172
6.5 Some Subtle Features of the Model......Page 177
6.6 Tests......Page 180
6.7 Other Aspects of Harmonic Structure......Page 182
7.1 Key......Page 185
7.2 Psychological and Computational Work on Key......Page 186
7.3 The Krumhansl-Schmuckler Key-Finding Algorithm......Page 191
7.4 Improving the Algorithm's Performance......Page 194
7.5 Modulation......Page 205
7.6 Implementation......Page 206
7.7 Tests......Page 209
7.8 An Alternative Approach to Modulation......Page 216
II: Extensions and Implications......Page 221
8.1 Diachronic Processing and Ambiguity......Page 223
8.2 Modeling the Diachronic Processing of Music......Page 224
8.3 Examples of Revision......Page 228
8.4 Revision in Tonal Analysis......Page 233
8.5 Synchronic Ambiguity......Page 237
8.6 Ambiguity in Contrapuntal Structure......Page 242
8.7 Ambiguity in Meter......Page 246
8.8 Expectation......Page 249
9.1 Beyond Common-Practice Music......Page 255
9.2 Syncopation in Rock......Page 257
9.3 Applications and Extensions of the Syncopation Model......Page 265
9.4 Harmony in Rock......Page 271
9.5 Modality and Tonicization in Rock......Page 276
10.1 African Rhythm......Page 283
10.2 Meter in African Music......Page 286
10.3 How Is Meter Inferred?......Page 290
10.4 Western and African Meter: A Comparison......Page 294
10.5 Hemiolas and the "Standard Pattern"......Page 297
10.6 "Syncopation Shift" in African Music......Page 300
10.7 Grouping Structure in African Music......Page 304
10.8 Conclusions......Page 307
11.1 The Study of Generative Processes in Music......Page 309
11.2 Describing Musical Styles and Compositional Practice......Page 310
11.3 Further Implications: Is Some Music "Nonmetrical''?......Page 317
11.4 Preference Rules as Compositional Constraints: Some Relevant Research......Page 323
11.5 Preference Rule Scores and Musical Tension......Page 325
11.6 Performance......Page 335
12.1 Beyond the Infrastructure......Page 343
12.2 Motivic Structure and Encoding......Page 344
12.3 Musical Schemata......Page 354
12.4 Tension and Energy......Page 357
12.5 The Functions of Harmony and Tonality......Page 358
12.6 Arbitrariness......Page 363
12.7 Explaining Musical Details: An Exercise in Recomposition......Page 367
12.8 The Power of Common-Practice Music......Page 372
Appendix: List of Rules......Page 375
Notes......Page 379
References......Page 399
F......Page 411
N......Page 412
W......Page 413
B......Page 415
C......Page 416
H......Page 417
K......Page 418
M......Page 419
P......Page 420
S......Page 421
Z......Page 422
