Lecture 3 Generative Theory: Music as a system of rules

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Lecture 3 Generative Theory Music as a system
of rules

• MUSI 3911Music, Emotion and Meaning

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Overview

• Phrase structure in language Chomsky
• Generative Theory
• Applying generative theory to music Bernstein
• Generative Theory Schenker Lerdahl and
  Jackendoff
• Generative Theory and Performance
• Summary

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Phrase structure grammar in language

• Production rules, e.g.
• Sentence gt NP VP
• VP gt Verb NP
• Tree structures
• Chomsky, N. (1957). Syntactic Structures. The
  Hague Mouton.

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Generative grammar in language

• Formal procedures
• Mental representation of grammatical rules
• Phrase Structure and Transformational grammar
• Phrase structure rules (as last slide)
• Transformational Rules for transforming many
  different equivalent or related surface
  structures into single deep structures
• See Lyons (1991) for a detailed introduction to
  Chomskys ideas.

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Generative Theory

• Focus on syntax
• Grammaticality
• Novelty
• Innateness
• Universal Grammar

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Applying generative theory to music Bernstein

• Bernsteins linguistic approach
• Phonology (e.g. basic units notesphonemes)
• Syntax
• Deep structuregtsurface structure
• KeygtScale Elements
• Semantics (intrinsic meaning from syntax as well
  as extrinsic meaning)
• Successful?
• Confused and confusing, but extremely
  thought-provoking

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Generative Theory Schenker Lerdahl and
Jackendoff

• Schenker (e.g. 1935) informal, analytical,
  compositional
• Prolongation
• Ursatz (Urlinie, Bassbrechung)
• Melodic descent and I-V-I progression elaborated
• Hierarchy
• Background (close to Ursatz)
• Middleground
• Foreground (close to identifiable piece)

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Generative Theory Schenker Lerdahl and
Jackendoff

• Lerdahl and Jackendoff (1983) formal, cognitive,
  analytical
• Rules (Well-formedness, Preference)
• Metrical Structure (strength and weakness)
• At each metrical level, strong beats are spaced
  either two or three beats apart (MWFR3)
• Prefer a metrical structure in which a relatively
  strong beat occurs at the inception of a
  relatively long pitch event (MPR5a)
• Grouping Structure (boundaries)
• Time-span reduction (hierarchy of importance)
• Prolongational reduction (hierarchy of
  elaboration/progression)

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Generative Theory and Performance

• What do performers have in their minds?
• Representation of musical structure
• A hierarchy of events (maybe like Lerdahl and
  Jackendoff?)
• Rules for expression
• Delay at phrase boundary
• Play top voice earlier
• Expressive timing evidence
• Error data evidence

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Generative Theory and Meaning

• Syntax not semantics
• Can we have meaning without semantics?
• Is pure structure meaningful?
• Can syntax move us or communicate with us?
• Tension, resolution and closure
• Ebb and flow of strong and weak events
• Emotion, motion metaphor?

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Summary

• Musical structure can be described as
• A generative grammar which is
• Formal
• Hierarchical
• Such a grammatical view might
• Help define how we remember music
• Help explain why we play as we do
• Help explain why music has meaning?