addendum to Lerdahl and Jackendoff

Here are scans of two graphics I produced for a graduate analysis class in the early 1990s. We used Lerdahl and Jackendoff as a textbook. Readers will recall that they reproduce the score of D779n13 with a grouping analysis, but they do not carry out the analyses that would follow: time-span reduction and prolongational reduction.

(Click on the thumbnails for full size images.)

Reference:

Lerdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press, 1983.

D779n13 score

Here is a score for D779n13: this is a thumbnail -- click on it to see a larger image.

Here is a link to the IMSLP page for D779: link.

Lerdahl and Jackendoff comment on the waltz's anomalous design, and Margaret Notley takes its oddities as proof that the A-major waltz is a true character piece, not just another waltz improvised for dancing. I discuss the formal design in detail in the review-article. In a subsequent blog entry, I will show how the striking 10+8+10+10 design can be easily understood as created through improvisation (following comments by Kofi Agawu on composition or recomposition as analysis).

References:

Lerdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press, 1983.

Notley, Margaret. "Schubert's Social Music: The 'Forgotten Genres'." In Gibbs 1997, 138-54. (Gibbs, Christopher H. The Cambridge Companion to Schubert. Cambridge/New York: Cambridge University Press, 1997)

Neumeyer, David. "Description and Interpretation: Fred Lerdahl's Tonal Pitch Space and Linear Analysis," review-article, Music Analysis 25/1-2 (2006): 201-30.

Agawu, Kofi. "How We Got Out of Analysis, and How to Get Back in Again." Music Analysis 23/ii-iii (2004): 267-86.