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ix) Acknowledgments
(p.ix) Acknowledgments
It is a pleasure to acknowledge some of the people who and institutions
that helped me during the long gestation of this work. Pride of place
goes to Ray Jackendoff, in whose company I learned how to do the kind
of music theory that matters most to me. Without our prior work
together, this volume would have been inconceivable.
Just as our collaboration was drawing to a close, I had the good fortune
to participate—thanks to Karl Pribram and Diana Deutsch—in three
Ossiach conferences (1980, 1983, 1985) organized by Juan Roederer.
These meetings opened my eyes to the worlds of psychoacoustics and
experimental music psychology. Around the same time, I spent a
number of residencies and visits at IRCAM (1981, 1983, 1984, 1988,
1991). This was my introduction to the world of computer music. Jean‐
Baptiste Barriére, Tod Machover, Stephen McAdams, Yves Potard, and
David Wessel supported and assisted me in undertaking a number of
computer‐music projects. For various technical and logistical reasons
none of these projects was completed, but working on them proved a
gold mine for subsequent theorizing.
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(p.ix) Acknowledgments
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(p.ix) Acknowledgments
Louise Litterick, David Temperley, and Carl Voss read the complete
manuscript and made many suggestions about content and style that
significantly improved the book. Further comments by Christopher
Hasty, Jonathan Kramer, and an anonymous reader, as reviewers for
Oxford University Press, were invaluable for the final revisions. Joan
Bossert initially undertook this project at OUP, and (p.xi) Bruce Phillips
provided patient encouragement for it. Maribeth Payne, Maureen Buja,
and Cynthia Garver skillfully oversaw the publication processs. Barbara
Wild did the expert copyediting. A subvention from the Society for
Music Theory helped defray costs of the complex musical figures, which
were superbly realized on the computer by Don Giller.
Here and there in this volume I have reworked material from earlier
publications (Lerdahl 1988a, 1988b, 1989a, 1989b, 1991, 1992, 1994a,
1994b, 1996, 1997b, 1999). I gratefully acknowledge permission from
Academic Press, the American Psychological Association, Analyse
Musicale, Contemporary Music Review, Current Musicology, Journal of
Music Theory, Music Perception, and Overbird Press. Belmont Music
Publishers granted permission to reproduce the first part of
Schoenberg's Klavierstuck, Op. 33a.
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Columbia University; date: 23 March 2018