(p.

405) Index

University Press Scholarship Online

Oxford Scholarship Online

Tonal Pitch Space

Fred Lerdahl

Print publication date: 2005

Print ISBN-13: 9780195178296
Published to Oxford Scholarship Online: May 2008
DOI: 10.1093/acprof:oso/9780195178296.001.0001

(p.405) Index
Abrams, R. M., and K. K. Gerhardt, 82
Acoustic scale, 267
African (sub‐Saharan) music, 287
Agmon, Etyan, 51, 270
Aldwell, E., and C. Schachter, 97, 99, 227
Anchoring principle, 52, 161, 317
Anchoring strength, 162
Anchoring/reduction rule, 320
Antokoletz, E., 337
Archangeli, D., and D. T. Langendoen, 7
Associational structure, 5–6, 346
Asymmetrical attractions, 167–170, 174
Asymmetrical distances, 79, 161, 283
Atonal branching well‐formedness condition, 346
Atonal function rule, 347
Atonal prolongations, 348–350
Attention band, 81, 165, 317
Attractions
denied, 172, 174
melodic, 161–169, 274–277
metrical, 288–296
virtual, realized, and expected, 170–176
voice‐leading and harmonic, 173–176, 277–278
Attractional context, 176–179
statement of rule, 176, 178–179
Attractor, 162
Axis of symmetry, 336–337

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Babbitt, M., 297

Bach, J. S., 110
Chorale, “Christus, der ist mein Leben,” 7–11, 18–25, 28–29, 31–32, 75–
77, 201–202, 219–221
Chorale, “Ich bin's, ich sollte büssen,” 35
Prelude in C major (WTC I), 36–37
Bailey, R., 108, 176
Balance constraint, 26, 28
Balkan dance music, 286
Balzano, G., 44, 50–51, 269, 288
Bartók, B., 264, 333–341, 343, 344, 351
String Quartet no. 4, V, 336–341, 349
String Quartet no. 5, I, 334;
V, 334
String Quartet no. 6, III, 334–335;
IV, 334–336
Basic space, 47–48
constraints on, 268–274
(p.406) Beach, D., 24–25, 227

Beethoven, L. van, 110, 313

Sonata, Op. 2, no. 1, I, 232, 234
Sonata, Op. 2, no. 2, I, 232, 234
Sonata, Op. 2, no. 3, I, 232, 234
Sonata, Op. 31, no. 3, I, 241
Sonata, Op. 53 (Waldstein), I, 37–40, 91, 202–207, 232–233, 235
Sonata, Op. 111, I, 241
Symphony no. 3 (Eroica, I, 53, 290
Symphony no. 9, I, 53;
IV, 290
Berg, A., 336
Berger, A., 264, 313
Berger, K., 167
Berlioz, H., 110
Bernstein, D., 71
Berry, W., 205, 369
Bharucha, J. J., 41, 52, 81, 86–87, 161, 170, 172, 190–191
Bigand, E., R. Parncutt, and F. Lerdahl, 82, 86
Boretz, B., 184
Borrowing, 62–63, 218
Boss, J., 351
Boulez, P., 138, 297, 350, 373
Brahms, J., 82, 346
Intermezzo, Op. 76, no. 4, 311
Intermezzo, Op. 117, no. 2, 311
Branching
left and right, 10–11, 14–15
strict, 29–32
Bregman, A., 32, 81, 350

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 (p.405) Index

and S. McAdams, 33
Brown, H., and D. Butler, 194
Brown, M., 315–316
Browne, R., 50, 194
Bruckner, A., 58
Bruner, C., 285
Burns, E. M., and W. D. Ward, 80
Butler, D., 193
Cadential treatment, 12, 25, 218–219
Burgundian cadence, 317–318, 336
in nontriadic contexts, 325–326, 340
Callender, C., 323
Caplin, W., 232, 242
Carpenter, P., 91
Categorical perception, 80, 269
Chomsky, N., 4, 351
Chopin, F., 110
Ballade no. 2, 198
Prelude in E major, 89–104, 109
Prelude in E minor, 104–109
Chord distance rule, 55, 60
generality of, 263–264
Chord/region distance rule, 70
Chordal circle‐of‐fifths rule, 54
Chordal core, 56
Chordal space, 53–59
Christensen, T., 58, 166, 219, 318
Chromatic inflection, 63, 113, 218, 249
Churchland, P., 87
Closure and global prolongation, 227–229
Clough, J., and J. Douthett, 51, 269
Clough, J., N. Engebretsen, and J. Kochavi, 274
Coding theory, 45
Cognitive opacity
of pitch‐meter analogies, 297
of tone rows, 375–380
Cognitive reference points, 161, 190
Coherence criterion, 50–51, 270–271
Cohn, R., 44, 83–84, 115, 264, 269, 271, 277, 298, 301
and D. Dempster, 31, 35
Compositional implications, 136–139, 297, 381
Computational modeling, 86–88, 152, 190, 381
Conceptual structure, 140
Conditioning, prenatal, 82
Consonance/dissonance, sensory, 81, 190, 269, 318–320, 349, 379–380
Constraints on basic space, 272–273
Cook, N., 227
Cooke, D., 167, 188

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 (p.405) Index

Cooper, G., and L. B. Meyer, 293

Cowell, H., 297
Critical band, 81, 321
Cuddy, L., 348
Damasio, A., 192
de la Motte, D., 84
Debussy, C., 108, 265, 285, 313, 318
Prelude, “La terrasse des audiences du clair de lune” (Book II, no. 7),
305–312, 350
(p.407)

Prélude à l'après‐midi d'un faune, 315–316

Deliège, I., 80
Deutsch, D., 6, 7, 41, 45, 87, 378
and J. Feroe, 45–47, 379
Developmental learning, 41, 82, 190–191
Diatonic space, 47–73, 77–80
Dibben, N., 348
Distinctive (noncommon) pcs, 55
Dogantan, M., 167
Douthett, J., and P. Steinbach, 83
Dowling, W. J., 378
Drobisch, M. W., 43
Dubiel, J., 223
Elaboration, 15
Emancipation of dissonance, 349, 380
Emotion and expression, 188–192
Epstein, D., 53
Euclidean distances, 79
Euler, L., 43
Event governance, 177
Expectation
rhythmic, 289
tonal, 170–173, 301
Experienced listener, 5, 143
Expressive timing, 7, 294, 296
Family resemblance, 361, 372
Fétis, F.‐J., 167
Feynman, R., 74
Fifth/leading‐tone space, 336–338
Final‐state idealization, 5
Fineberg, J., 349
Flat pitch space, 344
Flat‐space distance rule, 345
Fodor, J., 4, 172
Forte, A., 223, 281, 352, 372
and S. Gilbert, 24–25, 104
Francès, R., 378
Function rule, 215–216

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 (p.405) Index

Functionality, 214–215, 227–231

in biology, 215, 227
and tension, 229–231
Fusion, 12, 33, 349–350
transformation rule, 350
Fyk, J., 170
Gestalt theory, 32–33, 161, 190
principle of Prägnanz, 74, 152
Gjerdingen, R., 31, 172, 190, 233–241
Gravitational analogy, 163, 166, 171, 296
Graybill, R., 293–296
Grouping structure, 3, 8
effect on metrical attractions, 294
polyphonic groupings, 6, 32–34, 368
Haimo, E., 373
Halle, J., and F. Lerdahl, 278, 350
Halving (almost‐halving) criterion, 269–270, 286–287
Handel, S., 7
Harmonic attraction rule, 175
Harmonic template, 80
Harrison, D., 196
Hasty, C., 285, 348
Haydn, J., 110
Hayes, B., 278
Heider, F., and M. Simmel, 192
Heinichen, J. D., 42
Heimholte, H. von, 44, 81, 85
Hexachordal combinatoriality, 71, 261, 375
Hexatonic rules
chord distance rule and corollary, 260
intraregional chord‐cycle rule, 259
region‐cycle rule, 260
Hexatonic space, 249–251, 258–263
Hierarchical structure, 3, 5–6, 35
event hierarchy, 41
representational and inclusional hierarchies, 35
tonal hierarchy, 41
Hierarchical tension rule, 146–151
Hindemith, P., 81, 167, 346, 349
Hoffman, M., 138
Huron, D., 33
Hutchinson, W., and L. Knopoff, 321
Hyer, B., 44, 83, 176
Hypermeter, 8
Hypermodulation, 280
Idealizations, 5–6
Imig, R., 44
Implication/realization theory, 170, 190–191

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 (p.405) Index

Indian (raga) music, 287, 375

(p.408) Inertia

melodic, 171
metrical, 279
Inherited value (tension), 146
Innate structures, 190
Interaction principle, 16–17, 19–20, 157–161
revised statement of, 158–159
Interspatial distances, 280–285
statement of rule, 283–284
Interval‐class vectors, 281
Interval cycles, 43–45, 54, 56, 72, 110, 128, 249–252, 271
Intervallic scale generators, 271
Intonation, 170, 286
just intonation, 43–44, 269
Ito, J., 292
Jackendoff, R., 3–5, 7, 79, 140, 172–173, 202, 232
Japanese koto music, 375
Jazz, 292, 311, 361, 375
Johnson, M., 191
Jones, M. R., and M. Boltz, 315
Keiler, A., 220
Kellner, D., 42, 61, 71
Kerman, J., 223
Koffka, K., 74
Kolisch, R., 375
Komar, A., 138
Kopp, D., 44, 83, 215
Kramer, J. D., 7
Krumhansl, C. L., 6, 45, 78–79, 82–86, 193, 196, 200, 263
and J. J. Bharucha and E. Kessler, 82
and Edward Kessler, 82, 88, 91
Kurth, E., 167
Lake, W., 191
Lakoff, G., and M. Johnson, 191
Larson, S., 30, 163, 171, 191, 351
Leading‐tone formations, 333–343
Least action, principle of, 74
Lecanuet, J. P., 82, 190
Leman, M., 88
Lendvai, E., 264
Lester, J., 42, 219, 318
Lewin, D., 42, 44, 71, 83, 108, 215, 298, 352
Liberman, M., and A. Prince, 278
Linear completion, 52–53, 171, 173
Liszt, F., 280, 287
Litterick, L., 311
Lobe, J. C., 138

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 (p.405) Index

Locke, D., 287

Logier, J. B., 138
London, J., and R. Rodman, 104
Longuet‐Higgins, C., 44, 84
and M. Steedman, 193
Lubin, S., 91
Lussy, M., 167
Lydian/Phrygian polymode, 333–334
Machaut, G. de, 319
Mahler, G.
Lieder eines fahrenden Gesellen, “Die zwei blauen Augen,” 228–229
Symphony no. 4, IV, 198
Marr, D., 7, 88
Martino, D., 261
Marvin, E., and A. Brinkman, 227
Marx, A. B., 24
Mattheson, J., 42
Maximal evenness, 50, 269–271, 286–287
McCreless, P., 108
Mehra, J., 74
Melodic attraction rule, 163
Mendelssohn, F.
Gondollied, Op. 30, no. 6 (from “Songs without Words”), 242–248
Italian Symphony, 245
Messiaen, O., 51
Metrical structure, 3, 8–9, 285–297
parallelism with basic spaces, 278–279, 282–288
Meyer, L. B., 5, 45, 52–53, 170, 172, 188, 190–191, 235
Mickelson, W., 59
Miller, G., 378
and E. Galanter and K. Pribram, 6
Minor scale
harmonic, 50, 164, 273
natural, 61, 111
Mitchell, W., 184, 211, 214
Mixture, 62–63, 110–114
Momigny, J.‐J. de, 166–167
Mooney, M. K., 44, 83, 215
Morris, R, 281, 372, 375
(p.409) Morrison, C., 333, 336, 340

Mozart, W. A., 110

Piano Concerto no. 19, K. 459, III, 292–296
Sonata, K. 281, III, 241
Sonata, K. 282, I, 142–157, 176–183, 187–188, 237–241
Sonata, K. 333, I, 33–34
Symphony no. 40 in G minor, I, 30–31, 36
Musical surface, 3, 5
Mysterium space, 267, 273, 323–324

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 (p.405) Index

Mystic space, 267–269, 322–324

Narmour, E., 52, 170, 190–191, 289, 296
Narrativity, 115, 119–139, 188
Nattiez, J.‐J., 184
Neisser, U., 6
Network representation, 31
Neo‐Riemannian theory, 83–86, 115, 264, 277, 298
Neural‐net (connectionist) modeling, 7, 86–88
Neumeyer, D., 24–25
Nontriadic spaces, 264–268
Normalization, 40
Normative prolongational structure, 25–26
Octatonic rules, statements of
chord distance rule and corollary, 254, 258
intraregional chord‐cycle rule, 252
region‐cycle rule, 254
Octatonic space, 51, 249–258
Oettingen, A. von, 44
Ogdon, W., 366
Optimality theory, 7
Palmer, C., 296
Parncutt, R., 86
and W. Thompson, 81
Paths
in chordal/regional space, 96–98
in pc/chordal space, 102–103
in regional space, 91–95
in scale‐degree space, 97–101
Pattern matching, 278–279, 285
Pentatonic space, 51–52
Perle, G., 192, 324, 336, 372, 379
Phenomenal accent, 8
Phonology, generative, 278
Pinker, S., 192
Pitch‐class space, 48–50
Pitch‐class set theory, 80, 281, 348, 361, 380
Pitch event (unit of analysis), 33, 97, 108–109, 227, 248, 345, 350, 373
Pitch space in evolution, 110–112, 249– 252, 350–351, 380–381
Pivot
chord, 64, 97, 147
function, 147
region, 67–69, 82
Plomp, R., and W. J. M. Levelt, 81
Pople, A., 324
Position‐finding, 50, 269–270
Povel, D., 163
Preference rules, 6–7, 268–273
Pressing, J., 287

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 (p.405) Index

Pressnitzer, D., et al., 349

Processing, real‐time, 5, 202
Prolongation, use of term, 15, 350–351
Prolongational connection rule, 74
Prolongational paths, 89–91
Prolongational reduction
abstraction and transformations, 35–40
basic form, 25
construction of, 18–21
principles of, 14–18
prolongational functions, 228–229
prolongational good form, 25–29, 40, 77, 161
prolongational region, 15
and tone rows, 373–375
underlying transformations of, 35–40
vertical reduction, 14, 35–36, 340, 343
Prospective and retrospective hearing, 17, 157, 202
Prototypes, 40, 78–79, 110, 232
Psychoacoustics, 32–33, 80–81, 85–86, 150, 313–321, 349, 381
Rahn, J., 287
Rameau, J.‐P., 57–58, 166, 217, 318
corps sonore, 57
double emploi, 57
fundamental bass, 42, 145
supposition, 219
(p.410) Rare‐interval criterion, 194

Ratios of asymmetry, 167–169

Recursion constraint, 27–28
Regional circle‐of‐fifths rule, 59
Regional distance rule, 68
Regional prolongations, 104–109
Regional space, 63–70
collapsed regional space, 110–112
Reise, J., 323
Renaissance music, 317–318, 336, 381
Resile, F., 45
Riemann, H., 42, 45, 83–84, 91, 217, 222, 289
function theory, 59, 63, 196, 214–215, 218, 235
Klang, 53, 145, 215
Tonnetz (Riemann space), 44–45, 84–85, 110
Riepel, J., 233
Rosch, E., 78, 232
and C. Mervis, 78
Rothstein, W., 24, 40, 53, 242
Roughness, sensory, 81
Rumelhart, D., and J. McClelland, 7
Sadai, Y., 215
Salience, structural role of, 313–316

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 (p.405) Index

Salience conditions, 320

Salzer, F., 315–316
Scale‐degree space, 97–101
Schachter, C., 40, 89, 104, 242
Scharf, B., 81
Schellenberg, G., 190
Schemas, 40, 231–242, 248
antecedent‐consequent period, 242, 245
Bar form, 233
cadential schema, 235, 238
changing‐note schema, 172, 235, 238
double period, 242, 245
Fonte, 237, 239
Prinner Riposte, 237, 239
Romanesca, 237–238
schematic ordering, 241
sentence (Satz), 231–234
T‐S‐D‐T progression, 215, 222
Schenker, H, 10, 37, 52–53, 164, 222–223, 361
Schenkerian analysis, 14, 15, 40, 89, 104, 138, 350
Stufen, 58–59
Urlinie, 24, 52, 104
Ursatz, 10, 25, 40, 235
will of the tones, 167, 173, 379
Zug, 52–53
Schoenberg, A, 71, 73, 91, 164, 205, 264, 336, 351, 372, 375
Book of the Hanging Gardens, Op. 15, 361
Erwartung, 351
First Chamber Symphony, Op. 9, 319, 334
Five Orchestra Pieces, Op. 16, 361
Klavierstuck, Op. 11, no. 1, 349, 353–361, 372–373
Klavierstuck, Op. 19, no. 6, 352–355
Klavierstuck, Op. 33a, 373–378
Orchestral song, “Seraphita,” Op. 22, no. 1, 351–352
Pelleas und Melisande, Op. 5, 336
Second String Quartet, Op. 10, 319, 334
Schubert, E, 285, 311, 351
Die schöne Müllerin, 139–140
Quartet in G major, 110
Quintet in C major, 110
Sonata in Bb, Op. posth., I, 114–115;
IV, 241
Winterreise, 139
Schumann, R., 138
Dichterliebe, 138–139;
“Aus meinen Tränen sprießen,” 222–223;
“Ich hab' im Traum geweinet,” 138;
“Im wunderschönen Monat Mai,” 138

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 (p.405) Index

Frauenliebe und Leben, 138–139

Scriabin, A, 265, 267–268, 287, 336
Prelude, Op. 48, no. 4, 311
Prelude, Op. 67, no. 1, 316–317, 321–333
Sechter, S., 58, 217
Semantic paths, 140–141
Sensory consonance rule, 321
Sequential tension rule, 143, 151
Shepard, R., 43–45
and L. Cooper, 78
Shortest path, principle of, 73–77, 128, 159, 193–194
Similarity, pitch and pitch‐class, 281–282, 345
(p.411) Simon, H., 6

and R. K. Sumner, 45
Simplicity criterion, 51
Six‐four chord, interpretation of, 97, 119, 227
Sloboda, J., 4
Spectral music, 349
Sports, F., 137
Stability conditions, 4, 41, 74, 313–316, 348
Steps and skips, 48, 50, 57–58, 95, 379
Stockhausen, K., 297
Straus, J. N., 351
Strauss, R.
Elektra, 351
Tod und Verklärung, 188–189
Stravinsky, I., 265, 281, 312–314, 343, 344
Le sacre du printemps, 342–343
Les noces, 341, 343
Symphony of Psalms, 313–314
Streaming (psychoacoustic), 32–33, 190, 316
Strict‐branching criterion, 29–32
Structural beginning, 12
Stumpf, C., 85
Subevents, 350
Surface dissonance, 150–151
Surface tension rule, 150
Swain, J., 188
Tactus, 9, 285–286, 289–291
Taruskin, R., 184, 265, 323, 343
Temperley, D., 193, 196, 201, 280
and D. Sleator, 143, 152, 286
Tension
and attractions, 186–188
and pitch space, 142
relation to stability and instability, 142
schematic, 242–247
sequential vs. hierarchical, 143, 152–153

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tonal, 14–15, 143–152

Terhardt, E., 80, 86, 265, 321
and G. Stoll and M. Seewann, 81, 321
Time‐span reduction, 10–14
Time‐span segmentation, 4, 9–10
Time‐span stability, 74
Tone durations, 82, 200
Tonic‐finding, 193–201
statement of rule, 198–200
Toroidal structure, 42, 57–58, 64, 66
Transformational rules, 6, 14, 37, 218
Travis, R., 351
Tversky, A., and J. W. Hutchinson, 31
Twelve‐tone theory, 71, 80, 261, 375
Unaccompanied melody, 200–201
Underlying phrasal form, 248
Uniqueness criterion, 50, 270, 286–287
Universals, 4–5
van den Toorn, P., 264, 313, 343
Väisälä, O., 345
Varèse, E., 336
Vial, F.‐G., 42
Virtual pitch theory, 80–81, 86
Voice‐leading attraction rule, 173
Wagner, R., 82, 108, 110, 138, 176, 265, 280, 318
Parsifal, 119–138, 298–302
Tristan und Isolde: Prelude to Act I, 183–186, 205–214, 223–225, 233,
236–237, 308;
Sehnen motive (Act II), 302–305;
Transfiguration (Liebestod), 115–119, 186, 224–226
Wagner, W., 137–138
Wason, R., 58, 184
Weber, G., 42, 91, 138
Weber space, 43, 45, 64, 71, 73, 136–139
Webern, A., 372
Piece for violin and piano, Op. 7, no. 1, 349, 368–372
Weinberger, N., 87
Well‐formedness conditions, 6, 268–269, 272, 285–286
Werts, D., 91, 111, 138
Whole‐tone space, 251, 266–268
Wittlich, G., 372
Xenakis, I., 373
Youmans, G., 31
Zuckerkandl, V., 167 (p.412)

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