The cognition of basic musical structures / David Temperley.

Includes bibliographical references (pages 381-391) and indexes.

Print version record.

An Unanswered Question -- Music Cognition and Music Theory -- The Input Representation -- The Preference Rule Approach -- The Implementation Strategy -- Six Preference Rule Systems -- Metrical Structure -- Meter -- Previous Research on Metrical Analysis -- A Preference Rule System for Meter -- Implementation -- Problems and Possible Improvements -- Other Factors in Metrical Structure -- Choosing the Right Tactus -- Melodic Phrase Structure -- Musical Grouping and Phrase Structure -- Studies of Musical Grouping in Psychology -- Models of Grouping Structure -- A Preference Rule System for Melodic Phrase Structure -- Implementation and Tests -- Grouping in Polyphonic Music -- Contrapuntal Structure -- Counterpoint -- Sequential Integration in Auditory Psychology -- Computational Models of Contrapuntal Analysis -- A Preference Rule System for Contrapuntal Analysis -- Implementation -- Pitch Spelling and the Tonal-Pitch-Class Representation -- Pitch-Class, Harmony, and Key -- Spatial Representations in Music Theory -- Tonal-Pitch-Class Labeling -- A Preference Rule System for Tonal-Pitch-Class Labeling -- Implementation -- Harmonic Structure -- Harmony -- Experimental and Computational Work on Harmonic Analysis -- A Preference Rule System for Harmonic Analysis -- Implementation -- Some Subtle Features of the Model -- Other Aspects of Harmonic Structure -- Key Structure -- Key -- Psychological and Computational Work on Key -- The Krumhansl-Schmuckler Key-Finding Algorithm -- Improving the Algorithm's Performance -- Modulation.

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 [Publisher description].

English.

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