Theoretical Perspective -- Music Theory as Psychology -- The Connection with Linguistics -- The Connection with Artistic Concerns -- The Overall Form of the Theory -- Introduction to Rhythmic Structure -- Grouping Structure -- Metrical Structure -- The Interaction of Grouping and Meter -- The Relation of Structural Accent to Grouping and Meter -- Grouping Structure -- Grouping Well-Formedness Rules -- Perceptual Motivation for the Preference Rule Formalism -- Grouping Preference Rules -- Grouping Overlaps -- The Performer's Influence on Preferred Hearing -- Two More Examples -- Metrical Structure -- Metrical Well-Formedness Rules -- Metrical Preference Rules -- Further Metrical Preference Rules -- Variations on the Metrical Well-Formedness Rules -- Metrical Irregularities at Hypermeasure Levels -- Introduction to Reductions -- The Need for Reductions -- Possible Formal Approaches to Reduction -- The Tree Notation for Reductions -- Preliminary Construction of Reductions -- Time-Span Reduction: The Analytic System -- Time-Span Segmentation -- Time-Span Trees and Metrical Structure -- Time-Span Trees and Structural Accents -- Details of Cadential Reduction -- Background Structures and the Location of the Structural Dominant -- A Complete Time-Span Reduction -- Formalization of Time-Span Reduction -- Time-Span Segmentation -- Time-Span Reduction Well-Formedness Rules -- Preference Rules Within Phrases -- Structural Accents of Groups -- Prolongational Reduction: The Analytic System -- Intuitions About Tension and Relaxation.
Preface -- Preface to the 1996 reprint -- Part one : Theoretical perspective. Music theory as psychology -- The connection with linguistics -- The connection with artistic concerns -- The overall form of the theory -- Part two : Introduction to rhythmic structure. Grouping structure -- Metrical structure -- The interaction of grouping and meter -- The relation of structural accent to grouping and meter -- Part three : Grouping structure. Grouping well-formedness rules -- Perceptual motivation for the preference rule formalism -- Grouping preference rules -- Grouping overlaps -- The performer's influence on preferred hearing -- Two more examples -- Part four : Metrical structure. Metrical well-formedness rules -- Metrical preference rules -- Further metrical preference rules -- Variations on the metrical well-formedness rules -- Metrical irregularities at hypermeasure levels -- Part five : Introduction to reductions. The need for reductions -- Possible formal approaches to reduction -- The tree notation for reductions -- Preliminary construction of reductions -- Part six : Time-span reduction : the analytic system. Time-span segmentation -- Time-span trees and metrical structure -- Time-span trees and structural accents -- Details of cadential reduction -- Background structures and the location of the structural dominant -- A complete time-span reduction -- Part seven : Formalization of time-span reduction. Time-span segmentation -- Time-span reduction well-formedness rules -- Preference rules within phrases -- Structural accents of groups -- Concluding remarks -- Part eight : Prolongational reduction : the analytic system. Intuitions about tension and relaxation -- Preliminaries to prolongational trees -- Prolongational trees -- A secondary notation -- A complete prolongational reduction -- Part nine : Formalization of prolongational reduction. Fundamental hypotheses -- Prolongational reduction well-formedness rules -- Prolongational regions -- Prolongational reduction preference rules -- The interaction principle -- Normative prolongational structure -- Binary form and sonata form -- Reflections on musical cognition and music as an art -- Part ten : Some analyses. A complex rhythmic example -- Motivic structure and time-span reduction -- Some time-span and prolongational reductions -- Possible refinements in prolongational reduction -- Part eleven : Musical universals and related issues. What is a musical universal? -- Musical innateness -- Summary of rhythmic features -- Motivic "transformations," "Deep structures," and musical "archetypes" -- Remarks on the basis of tonal systems -- Remarks on contemporary music -- Part twelve : Psychological and linguistic connections. Gestalt theory and visual form perception -- Preference rules in linguistic theory -- A deep parallel between music and language -- A remark on brain localization -- Music theory as a cognitive science.
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