But there is a kind of speculative cognitive science that suggests that it might nevertheless be true, and that a "grammar" of tonal music
could be developed which both resembles the grammar of language and can also be rewritten as a computational algorithm.
From the works carried out in this context emerge the studies of Lerdahl and Jackendoff (1983), specifically their work, A Generative Theory of Tonal Music
in the classical genres describes an arc away from and back to a primary harmony.
In Chapter 2, Nussbaum presents a modified version of the Lerdahl and Jackendoff generative theory of tonal music
, according to which mental representations of music are hierarchically structured contents that have their own Chomskyan-style grammatical deep structure.
I will describe them in terms of an analytical method that is based on the work of Heinrich Schenker (1868-1935), an Austrian music theorist, pianist, music editor, and writer, whose work on tonal music
has become the most influential in music theory in the United States.
Please ask yourself: how much tonal music
have I heard compared to atonal music?
In terms of sound his music is highly individual and immediately identifiable, comprehensible on a first listen because of its iterative quality, rich in bizarre sounds with great evocative power, and characterised by microtonal deformations of the conventionalised elements of tonal music
(it is old, so let it scrape away nostalgically).
Quite abruptly, I found that I had learned to track the events in atonal music and to appreciate the works as wholes, just as I did with tonal music
Passionate about art, he is happy to make space for it in a busy workplace whose surprisingly laid-back atmosphere is enhanced by the most subliminal of tonal music
Whereas tonal music
is hierarchical, twelve-tone music is egalitarian: all the tones in the twelve-tone row must be given equal emphasis, "thus depriving one single tone of the privilege of supremacy." (Reilly, 246) 2.
Traditional models of tonal music
are dualistic; binary oppositions such as dissonance and consonance, tension and resolution, movement and stasis, transformation and object, deviation and norm, prolongation and harmony are aligned to privilege the second over the first.
But equally, it would be wrong and bigoted for high-brow academics to dismiss all melodic and tonal music
Diamond's brand of tonal music
appeals to audiences, and once when he was talking with Arnold Schoenberg and about 12-note music, he suggested that he study it with him, but Schoenberg told him he was the "new Bruckner" and didn't need it.
Youngren, asserts "That jazz was, from its beginnings, tonal music
, and is therefore basically European or Western in nature, is so obvious that it should not need as labored a demonstration as I am giving here." I suspect there will be more than a few readers of Youngren's essay who will fail to see the obvious European nature of jazz as clearly as he does, but he nevertheless raises some very interesting points that need to be considered and heard.