Writing some 40 years since "Le Marteau" first appeared, composer and music psychologist Fred Lerdahl criticized Koblyakov's approach to analyzing "Le Marteau": Lerdahl cautions, however, that "There is no obvious relationship between the comprehensibility of a piece and its value" . While considering "complicatedness to be a neutral value and complexity to be a positive one", and therefore that only musical surfaces leading to complexity employ "the full potential of our cognitive resources", many kinds of music satisfy such criteria (e.g., Indian raga, Japanese koto, jazz, and most Western art music), while other types "fall short": Balinese gamelan because of its "primitive pitch space" and rock music on grounds of "insufficient complexity", while much contemporary music (without specific reference to Boulez) "pursues complicatedness as compensation for a lack of complexity" .