Fred Lerdahl, Fritz Reiner Professor of Musical Composition at Columbia University, is a composer and music theorist, best known for his work on pitch space and cognitive constraints on compositional systems or "musical grammar"s. Fritz Reiner (December 19, 1888 - November 15, 1963) was a symphonic music conductor. ... Columbia University is a private university in New York City. ... A composer is a person who writes music. ... Music theory is a set of systems for analyzing, classifying, and composing music and the elements of music. ... In music pitch space is pitch relations, ie nearness or farness, represented through geometric models, most often multidimensional, how near or far pitches are from each other. ... Look up Cognition in Wiktionary, the free dictionary The term cognition is used in several different loosely related ways. ... Grammar is the study of the rules governing the use of a language. ...
Lerdahl, Fred and Jackendoff, Ray (1996). A Generative Theory of Tonal Music. MIT Press. ISBN 026262107X.
Lerdahl, Fred (2001). Tonal Pitch Space. Oxford University Press. ISBN 0195058348
Fred Lerdahls Cognitive Constraints on Compositional Systems cites Pierre Boulezs Le Marteau sans Maître (1954) as an example of a huge gap between compositional system and cognized result, though he could have illustrated just as well with works by Milton Babbitt, Elliott Carter, Luigi Nono, Karlheinz Stockhausen...
External links
Columbia Department of Music Faculty: Fred Lerdahl
Fred Lerdahl's Attack on Serialism by Ken Overton
Art of the States: Fred Lerdahl
New Music Box asks Fred Lerdahl: What role has theory played in your compositions and how important is it for people to know the theory behind the music in order to appreciate it?
Lerdahl's "Cognitive Constraints on Compositional Systems" cites Pierre Boulez's Le Marteau sans Maître (1954) as an example of "a huge gap between compositional system and cognized result," though he "could have illustrated just as well with works by Milton Babbitt, Elliott Carter, Luigi Nono, Karlheinz Stockhausen, or Iannis Xenakis".
While the two are historically and fruitfully mixed freely, a natural grammar arises spontaneously in a culture while an artificial one is a conscious invention of an individual or group in a culture and the "gap" may only exist between listening grammar and artificial grammars.
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