ONE PROPOSAL
The issues can be clarified somewhat by examining Fred Lerdahl's actual composing style, to see how it compares with his unusually explicit and outspoken theorizing. It turns out to be not quite as beholden to “outworn styles” as his theories caused him to worry, or the accusations of his critics might seem to suggest. It is based, rather, on a compromise between, on the one hand, a reinstated (“de-emancipated”) use of consonance and dissonance to effect tension and release, and, on the other, the kind of symmetricalized chromatic pitch relations that had a long history in twentieth-century practice (particularly in Bartók and Berg), but that had only lately achieved comprehensive theoretical formulation in an influential treatise, Twelve-Tone Tonality, by the veteran American composer George Perle (b. 1915), the first edition of which was published in 1977.
- Citation (MLA):
- Richard Taruskin. "Chapter 9 After Everything." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009011.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 After Everything. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009011.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 After Everything." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-009011.xml
