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Music, Language, and the Deceptive Charms of Recursive Grammars
- Author(s):
- Lodewijk Muns (see profile)
- Date:
- 2014
- Group(s):
- Society for Music Theory (SMT)
- Subject(s):
- Music, Music and philosophy, Music theory
- Item Type:
- Conference paper
- Conf. Title:
- 2014 Annual Conference
- Conf. Org.:
- Royal Musical Association Music and Philosophy Study Group
- Conf. Loc.:
- King's College London
- Conf. Date:
- 27-28 June 2014
- Tag(s):
- Generative Theory, music and language, recursion
- Permanent URL:
- http://dx.doi.org/10.17613/x9dk-ks06
- Abstract:
- Recursion may have an important place in cognitive processes. Recursive theoretical models may also seduce the theorist to false abstractions and pseudo-explanations. This is observed in some versions of musical and linguistic formalism, which share a common rationalist-idealist background; paradigmatically, in Chomsky’s controversial Minimalism. It is also observed in the reductive practices of Riemann’s Musikalische Logik (1873) and Schenker’s Der freie Satz (1935). More extensively I will discuss Lerdahl en Jackendoff’s attempt to transform music theory into a theory of musical perception (A Generative Theory of Tonal Music, 1983). They do so with the help of the formal method and psychological premises of Generative Grammar.
- Metadata:
- xml
- Status:
- Published
- Last Updated:
- 3 years ago
- License:
- All Rights Reserved
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