Recent years have seen an increasing influence on music theory of perceptual investigations that can be called phenomenological in the sense of Husserl, either explicitly or implicitly. The trend is problematic, particularly in what one might call its sociology, but it is also very promising. Potential or at least metaphorical links with Artificial Intelligence are especially suggestive. A formal model for "musical perceptions," incorporating some of the promising features, reveals interesting things in connection with Schubert's song Morgengruβ. The model helps to circumvent some traditional difficulties in the methodology of music analysis. But the model must be used with caution since, like other perceptual theories, it appears to make " listening" a paradigmatic musical activity. Composer/ performer/playwright/actor/director/poet can be contrasted here to listener/reader. The two genera can be compared in the usual ways, but also in some not-so-usual ways. The former genus may be held to be perceiving in the creative act, and some influential contemporary literary theories actually prefer members of this genus to those of the other as perceivers. The theories can be modified, I believe, to allow a more universal stance that also regards acts of analytic reading/listening as poetry.


(Ihde, 1976).
Kramer is a consulting editor for Music Theory Spectrum, volume 7 (1985),
"The Subconscious Language of Musical Time" (Rowell, 1975).
Miller (1984), p. 120
Generalized musical intervals and transformations (New Haven: Yale University Press, expected 1987).
Miller (1984),
(Dreyfus & Hall, 1982).
"Husserl's Anticipation of Artificial In- telligence" (pp. 17-19)
"Husserl's (and AI's) Problems" (pp. 19-27);
Otto Laske. Laske (1980)
Report Music and Mind, An Artificial Intelligence Perspective (San Francisco: Computer Music Association, 1981).
Raphael Eric Atlas (1983).
The American Heritage Dic- tionary of the English Language (New York: American Heritage Publishing Co., Inc., 1969), p. 63.
Fred Lerdahl and Ray Jackendoff (1983)
A Generative Theory of Tonal Music (pp. 264-269).
Freud (1955, pp. 64-65).
Joan Riviere (1952, pp. 68-69)
Earlier, Freud classifies many fehlleistungen as similar to Versprechen in mechanism (1955, p. 18;
Riviere, 1952, p. 29).
Oliver Strunk (1950, pp. 84-85).
(Zarlino, 1558/1968, pp. xviii-xxiv).
Mattheson (1739, p.6);
Heinrich Schenker's remarks about the Ursatz appear in Free Composition (Schenker, 1979, pp. 10-11).
Lerdahl and Jackendoff (1983)
(Gadamer, 1976, p. 36).
Miller (1984)
(Miller, 1984, p. 14).
The passage is taken from "The Composer and His Message," a lecture delivered at Princeton University in the Fall of 1939.
(Lerdahl & Jacken- doff, 1983, p. 1.)
Lochhead and Fisher (1968, pp. 23-39).
Jonathan Culler's (1981, pp. 14, 107- 111)
Randall (1972).
Arnold Schoenberg's piano piece, opus 19, number VI (vol. 17, no. 2, Spring-Summer, 1979, pp. 17-24).
Benjamin Boretz influenced the journal over many years are only hinted at in his modest editorial apologia, "Afterward(: a foreword)," (vol. 22, Fall- Winter, 1983 and Spring-Summer, 1984, pp. 557-559).
Kenneth Gaburo is celebrated by a large number of contributions to volume 18 (Fall-Winter, 1979 and Spring-Summer, 1980, pp. 7- 256).
("Brain: . . . Half A Whole," pp. 215-256).
Robert Ashley appear in Formations, vol. 2, no. 1 (Spring, 1985), pp. 14-63.
Kay (1958, p. 68).
Barish (1981).
Lochhead and Fisher (1982).
Atlas (1983, pp. 26-27, 32-33)


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