ABSTRACT
The idea that there is a grammar of music is probably as old as the idea of grammar itself, and the idea that there should be formal grammars of music followed equally hard on the Chomskean application to natural languages of the formal techniques used to analyse logical and mathematical languages—see Winograd, 1968; Lindblom and Sundberg, 1972; Steedman, 1973, 1977; Longuet-Higgins, 1978; Johnson-Laird, 1991; and many others reviewed by Sundberg and Lindblom, 1991.
