Fred Lerdahl taught at the University of California, Berkeley and Harvard University, at Columbia from 1979-85, and subsequently at the University of Michigan, Ann Arbor, before returning to Columbia in 1991.
He has received the Koussevitzky Composition Prize (1966), a Guggenheim Fellowship (1974-75), two awards from the American Academy and Institute of Arts and Letters (1971, 1988), an NEH Fellowship (1991), and other awards, and many commissions for compositions.
A Generative Theory of Tonal Music. [with Ray Jackendoff] Cambridge, MA: MIT Press (1983). Tonal Pitch Space. New York: Oxford University Press (2001). "Spatial and Psychoacoustic Factors in Atonal Prolongation." Current Musicology 63 (1997). "Calculating Tonal Tension." Music Perception 13.3, 319-363 (1996). "Perception of Musical Tension in Short Chord Sequences: The Influence of Harmonic Function, Sensory Dissonance, Horizontal Motion, and Musical Training." [with Emmanuel Bigand and Richard Parncutt] Perception & Psychophysics 58 (1996). "Tonal and Narrative Paths in Parsifal." In Musical Transformation and Musical Intuition: Essays in Honor of David Lewin. Roxbury: Ovenbird Press (1994). "Octatonic and Hexatonic Pitch Space." Proceedings of the International Conference for Music Perceptions and Cognition (1994). Selected Compositions: *Quiet Music (1994) for orchestra *Without Fanfare (1994) for winds and percussion * Marches (1992) for chamber ensemble * Waves (1988) for chamber ensemble: CD DGG 435389-2 * Cross-Currents (1987) for orchestra * Fantasy Etudes (1985) for chamber ensemble: CD CRI CD580 * Episodes and Refrains (1982) for wind quintet * Waltzes (1981) for violin, viola, 'cello and double bass: CD CRI CD580 * Second String Quartet (1982) * First String Quartet (1978): CD CRI CD551 * Eros (1975) for mezzo-soprano and chamber ensemble: CD CRI CD580 * Wake (1968) for soprano and chamber ensemble: CD CRI CD580