Dirk-Jan Povel
This book definitively transforms music theory from a discipline yielding interesting and sophisticated, but mostly abstract, theories of music into a science that develops precise and testable models of music perception, thus providing genuine insights into the structures and mechanisms involved in the processing of music. In addition to its own substantial contribution to the field, this work sets the stage for future developments in both music theory and music psychology.
David Huron
Temperley's book is a landmark effort that integrates three strands of contemporary music theory: preference rule formalisms, music cognition, and computational modeling. Temperley wisely encourages music scholars to reconsider basic topics such as key, meter, and harmony. In addressing anew these concepts the books lays the most solid foundations yet described for the analysis of music. At the same time, the book provides lucid insights into such phenomena as rock music and African rhythms. A major contribution to music theory.
Fred Lerdahl
This book makes substantial progress in the computer modeling of basic aspects of musical cognition. The author's presentation of complex subject matter is as direct and straightforward as one could wish. His writing is natural, clear, and unfailingly logical.
Larry Polansky
Temperley's book is an interesting computational application of forward-looking ideas current in music cognition with regards to conventional, tonal music. Offering a diverse, wide-reaching discussion of 'common practice' music, it gives a strong nod towards the formality induced by necessity from computational models, and is very welcome in so doing.
Endorsement
Temperley's book is a landmark effort that integrates three strands of contemporary music theory: preference rule formalisms, music cognition, and computational modeling. Temperley wisely encourages music scholars to reconsider basic topics such as key, meter, and harmony. In addressing anew these concepts the books lays the most solid foundations yet described for the analysis of music. At the same time, the book provides lucid insights into such phenomena as rock music and African rhythms. A major contribution to music theory.
—
David Huron, Professor of Music, Ohio State University, and author of
Sweet Anticipation: Music and the Psychology of Expectation
From the Publisher
Temperley's book is an interesting computational application of forward-looking ideas current in music cognition with regards to conventional, tonal music. Offering a diverse, wide-reaching discussion of 'common practice' music, it gives a strong nod towards the formality induced by necessity from computational models, and is very welcome in so doing.
—
Larry Polansky, Joseph Straus 1922 Professor of Music, Dartmouth College, co-author of the computer music language
HMSL and co-director, Frog Peak Music
This book makes substantial progress in the computer modeling of basic aspects of musical cognition. The author's presentation of complex subject matter is as direct and straightforward as one could wish. His writing is natural, clear, and unfailingly logical.
—
Fred Lerdahl, Fritz Reiner Professor of Music, Columbia University
This book definitively transforms music theory from a discipline yielding interesting and sophisticated, but mostly abstract, theories of music into a science that develops precise and testable models of music perception, thus providing genuine insights into the structures and mechanisms involved in the processing of music. In addition to its own substantial contribution to the field, this work sets the stage for future developments in both music theory and music psychology.
—
Dirk-Jan Povel, Nijmegen Institute for Cognition and Information (NICI)
Temperley's book is a landmark effort that integrates three strands of contemporary music theory: preference rule formalisms, music cognition, and computational modeling. Temperley wisely encourages music scholars to reconsider basic topics such as key, meter, and harmony. In addressing anew these concepts the books lays the most solid foundations yet described for the analysis of music. At the same time, the book provides lucid insights into such phenomena as rock music and African rhythms. A major contribution to music theory.
—
David Huron, Professor of Music, Ohio State University, and author of
Sweet Anticipation: Music and the Psychology of Expectation
