A01=Adam Ockelford
advanced musical structure analysis
aesthetic response in music
Allen Forte
Atonal Music
Author_Adam Ockelford
Basic Melodic Structures
Basil De Selincourt
Category=AVA
cognitive constraints music
Das Wohltemperierte Klavier
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Fred Lerdahl
Generalized Interval Systems
Generalized Musical Intervals
Gilles Fauconnier
Ic Vectors
Implication Realization Model
Intraopus Functioning
Jean Jacques Nattiez
Michel Imberty
Mozart's Piano Sonata
Mozart’s Piano Sonata
music cognition
musical interval transformations
Pc Set
Perspective Domains
Phasic Perturbations
Piano Sonatas
Pitch Class
Pitch Class Sets
psychomusicology
Schoenberg's Op
Schoenberg’s Op
set theory analysis
Timbre Space
zygonic
Zygonic Relationships
Zygonic Theory
Product details
- ISBN 9780754635734
- Weight: 470g
- Dimensions: 150 x 244mm
- Publication Date: 02 Feb 2005
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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This monograph examines the place of repetition in perceived musical structure and in theories of music. Following a preface and introduction, there are four main chapters: 'Theory', 'Analysis', 'Metatheory and Meta-analysis', and 'Cognition and Metacognition'. Chapter 2 (Theory) sets out the principles underlying the creation and cognition of musical structure developed by the author in earlier studies, in the dual context of David Lewin's mathematically based theory of musical intervals and transformations and Gilles Fauconnier's concept of mental spaces (which was formulated in the context of cognitive science). Chapter 3 (Analysis) shows the theory in operation in relation to the first movement of Mozart's piano sonata K.333. It indicates how structural issues may be related to considerations of aesthetic response and musical 'worth' through comparison with J.C. Bach's Sonata op. 5 no. 3. Chapter 4 (Metatheory and Meta-analysis) uses the new theory to interrogate the propositions underpinning set theory and transformations, offering a psychomusicological critique and potential development of, for example, the work of Forte, Morris, Isaacson and Straus. This enables issues raised earlier in relation to the work of Lewin to be addressed. In conclusion, in Chapter 5 (Cognition and Metacognition), the matter of cognitive preferences and constraints is considered in relation to repetition in music, which permits a final investigation of different approaches to musical analysis to be undertaken. In summary, by synthesising the findings of diverse earlier work in the context of the new theory, it proves possible to move thinking forward on a number of fronts, and to indicate potential directions for future empirical and analytical developments.
Adam Ockelford Professor of Music at Roehampton University , UK.
