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MCMA: A Symbolic Multitrack Contrapuntal Music Archive Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Anna Aljanaki,Stefano Kalonaris,Gianluca Micchi,Eric Nichols
We present Multitrack Contrapuntal Music Archive (MCMA, available at https://mcma.readthedocs.io), a symbolic dataset of pieces specifically curated to comprise, for any given polyphonic work, independent voices. So far, MCMA consists only of pieces from the Baroque repertoire but we aim to extend it to other contrapuntal music. MCMA is FAIR-compliant and it is geared towards musicological tasks such
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Commentary on "The Mozart Expositional Punctuation Corpus: A Dataset of Interthematic Cadences in Mozart's Sonata-Allegro Exposition" Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Ben Duane
No abstract available.
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Saraga: Open Datasets for Research on Indian Art Music Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Ajay Srinivasamurthy,Sankalp Gulati,Rafael Caro Repetto,Xavier Serra
We introduce two large open data collections of Indian Art Music, both its Carnatic and Hindustani traditions, comprising audio from vocal concerts, editorial metadata, and time-aligned melody, rhythm, and structure annotations. Shared under Creative Commons licenses, they currently form the largest annotated data collections available for computational analysis of Indian Art Music. The collections
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Enabling FAIR use of Ethnomusicology Data – Through Distributed Repositories, Linked Data and Music Information Retrieval Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Alex Hofmann,Tomasz Miksa,Peter Knees,Asztrik Bakos,Hande Sağlam,Ardian Ahmedaja,Boonsit Yimwadsana,Clare Chan,Andreas Rauber
Recordings of musical practices are kept in various public institutions and private depositories around the world. They constitute valuable data for ethnomusicological research and are substantial for the world's musical heritage. At the moment, there are no commonly used systems and standards for organizing, describing or categorizing these data, which makes their use difficult. In this paper, we
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Some Aspects of Pedagogical Corpora Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Christopher WM. White
This essay focuses on the characteristics of corpora drawn from pedagogical materials and contrasts them with the properties of corpora of larger repertoires. Two case studies show pedagogical corpora to contain relatively more chromaticism, and to devote more of their probability mass to low-frequency events. This is likely due to the formatting of and motivation behind classroom materials (for example
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The PUMS Database: A Corpus of Previously-Used Musical Stimuli in 306 Studies of Music and Emotion Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Lindsay Warrenburg
A corpus of Previously-Used Musical Stimuli (PUMS) is presented. The PUMS database is an online, publicly-available database where researchers can find a list of 22,417 musical stimuli that have been previously used in the literature on how music can convey or evoke emotions in listeners. A total of 306 studies on music and emotion are included in the database. Each musical stimulus used in these studies
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FAIR for whom? Commentary on Hofmann et al. (2021) Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Stefan Münnich
In this commentary on Hofmann et al. (2021), the notion of ethnomusicology and some of its underlying biases are questioned and reflected in the light of applying FAIR data principles to musicological research data from outside a Western canon and its musical practices.
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FAIR, Open, Linked: Introducing the Special Issue on Open Science in Musicology Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Fabian C. Moss,Markus Neuwirth
No abstract available.
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Cultural Specificities in Carnatic and Hindustani Music: Commentary on the Saraga Open Dataset Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Lara Pearson
This commentary explores features of the "Saraga" article and open dataset, discussing some of the issues arising. I argue that the CompMusic project and this resulting dataset are impressive for their sensitivity to cultural specificities of the Hindustani and Carnatic musical styles; for example, the dataset includes manual annotations based on music theoretical concepts from within the styles, rather
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The Recorded Brahms Corpus (RBC): A Dataset of Performative Parameters in Recordings of Brahms's Cello Sonatas Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Ana Llorens
This report describes the open-source Recorded Brahms Corpus (RBC) dataset, as well as the methods employed to extract and process the data. The dataset contains (micro)timing and dynamic data from 21 recordings of Brahms's Cello Sonatas, Opp. 38 and 99, focusing on note and beat onsets and duration, tempo fluctuations, and dynamic variations. Consistent manual annotation of the corpus in Sonic Visualiser
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Connecting the Dots: Engaging Wider Forms of Openness for the Mutual Benefit of Musicians and Musicologists Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Mark R. H. Gotham
While it is encouraging to see renewed attention to 'openness' in academia, that debate (and its interpretation of the F.A.I.R. principles) is often rather narrowly defined. This paper addresses openness in a broad sense, asking not so much whether a project is open, but how open and to whom. I illustrate these ideas through examples of my own ongoing projects which to seek to make the most of a potential
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Best versus Good Enough Practices for Open Music Research Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Alexander Refsum Jensenius
Music researchers work with increasingly large and complex data sets. There are few established data handling practices in the field and several conceptual, technological, and practical challenges. Furthermore, many music researchers are not equipped for (or interested in) the craft of data storage, curation, and archiving. This paper discusses some of the particular challenges that empirical music
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The Mozart Expositional Punctuation Corpus: A Dataset of Interthematic Cadences in Mozart's Sonata-Allegro Exposition Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Omer Raz,Dror Chawin,Uri B. Rom
This report documents a dataset consisting of expert annotations (symbolic data) of interthematic (higher-level) cadences in the exposition sections of all of Mozart's instrumental sonata-allegro movements.
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FAIR Interconnection and Enrichment of Public-Domain Music Resources on the Web Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 David M. Weigl,Tim Crawford,Aggelos Gkiokas,Werner Goebl,Emilia Gómez,Nicolás F. Gutiérrez,Cynthia C. S. Liem,Patricia Santos
Vast amounts of publicly licensed classical music resources are housed within many different repositories on the Web encompassing richly diverse facets of information—including bibliographical and biographical data, digitized images of music notation, music score encodings, audiovisual performance recordings, derived feature data, scholarly commentaries, and listener reactions. While these varied perspectives
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The Interpersonal Entrainment in Music Performance Data Collection Empirical Musicology Review (IF 0.6) Pub Date : 2021-12-10 Martin Clayton,Simone Tarsitani,Richard Jankowsky,Luis Jure,Laura Leante,Rainer Polak,Adrian Poole,Martín Rocamora,Paolo Alborno,Antonio Camurri,Tuomas Eerola,Nori Jacoby,Kelly Jakubowski
The Interpersonal Entrainment in Music Performance Data Collection (IEMPDC) comprises six related corpora of music research materials: Cuban Son & Salsa (CSS), European String Quartet (ESQ), Malian Jembe (MJ), North Indian Raga (NIR), Tunisian Stambeli (TS), and Uruguayan Candombe (UC). The core data for each corpus comprises media files and computationally extracted event onset timing data. Annotation
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Isaac Newton's Microtonal Approach to Just Intonation Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Daniel Muzzulini
In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the
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Social Mechanisms of Musical Stylistic Change: A Case Study from Early 20th-Century France Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Jane Harrison
This study examined notated meter changes in scores by French composers to probe the role of sociological mechanisms in musical stylistic change. The stylistic feature of notated meter changes, which indexed metrical complexity, was conducive to empirical observation and functioned as a salient innovation in France around 1900. The principal sociological variable was membership in the Apaches artistic
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Commentary on Harrison: "Social Mechanisms of Stylistic Change" Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Samantha Burgess
This is a review of Harrison's (2021) paper "Social Mechanisms of Stylistic Change: A Case Study from Early 20th-Century France." In this study, Harrison found that the Apaches, a group of composers known for pushing stylistic boundaries in 20th-century France, employed slightly more instances of notated meter change in their music than a control group of their peers, but that the use of notated meter
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Reanalyzing Schotanus 2020: A reaction to Lee's commentary Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Yke Schotanus
In his commentary on Schotanus 2020 "Singing and Accompaniment Support the Processing of Song Lyrics and Change the Lyrics", Lee (2020) discusses several methodological issues related to this article, proposes a reanalysis of part the data, and asks for additional research. This reaction provides the reanalysis asked for, and briefly discusses additional research, and further issues.
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Historical Trends in Expressive Timing Strategies: Chopin's Etude, Op. 25 no. 1 Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Michael Rector
Studies of early 20th-century performance practice tend to focus on features that are alien to late 20th- and early 21st-century ears. Empirical analysis of timing in recordings of Chopin's Etude, Op. 25 no. 1—a piece for which performance style has remained relatively static—suggests how some foundational rules of phrasing and expressive nuance have changed over the history of recorded music. Melody
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Auditory Streaming Complexity and Renaissance Mass Cycles Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Finn Upham,Julie Cumming
How did Renaissance listeners experience the polyphonic mass ordinary cycle in the soundscape of the church? We hypothesize that the textural differences in complexity between mass movements allowed listeners to track the progress of the service, regardless of intelligibility of the text or sophisticated musical knowledge. Building on the principles of auditory scene analysis, this article introduces
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Consistent Pitch Height Forms: A commentary on Daniel Muzzulini's contribution Isaac Newton's Microtonal Approach to Just Intonation Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Thomas Noll
This text revisits selected aspects of Muzzulini's article and reformulates them on the basis of a three-dimensional interval space E and its dual E*. The pitch height of just intonation is conceived as an element h of the dual space. From octave-fifth-third coordinates it becomes transformed into chromatic coordinates. The dual chromatic basis is spanned by the duals a* of a minor second a and the
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Empirical Musicology: An Interview with David Huron Part II Empirical Musicology Review (IF 0.6) Pub Date : 2021-06-28 Daniel Shanahan
On the occasion of David Huron's retirement, EMR Editor, Daniel Shanahan, recently interviewed him regarding research methodology, public musicology, music and emotion, formal theory, the place of biology in music studies, and other topics. The second of two interviews.
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Comparing Word Affect and Tone Affect: Comment on Sun and Cuthbert 2017 Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Yke Schotanus
In the article "Emotion Painting: Lyric, affect, and musical relationships in a large lead-sheet corpus", Sun and Cuthbert (2017) explored the correlations between affect-carrying lyrics and musical features such as beat strength, pitch height, consonance, and mode. Several musical features did indeed turn out to be highly correlated with the affect of the lyrics. However, correlations between other
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Empirical Musicology: An Interview with David Huron Part I Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Daniel Shanahan
On the occasion of David Huron's retirement, EMR Editor, Daniel Shanahan, recently interviewed him regarding the founding of the journal, the growth of empirical musicology, digital corpus studies, the Humdrum Toolkit, and related topics. The first of two interviews.
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Measuring Harmonic Tension in Post-Tonal Repertoire Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Yvonne Teo
Despite the large body of research that has examined tonal and atonal harmonies to our perception of tension, there is no work that describes or explores the perception of post-tonal chords, but more specifically, chords that contain both tonal and post-tonal features. This article applies the concept of calculating the total amount of voice-leading movement, to examine its relationship to our perception
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Dimensions of Atonality: A Response and Extension of von Hippel and Huron (2020) Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Jason Yust
This commentary addresses von Hippel and Huron's (2020) work on "tonal and anti-tonal" structures in twelve-tone music and offers a possible extension making use of discrete Fourier transforms.
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Evolutionary Voices in Gary Tomlinson's A Million Years of Music Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Miriam Piilonen
No abstract available.
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A Response to Michael Spitzer's Commentary Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Imre Lahdelma,Tuomas Eerola
The authors respond to the commentary by Michael Spitzer which appeared in Vol. 14, No. 1-2 of Empirical Musicology Review. The response 1) points out the problem with equating nostalgia and tension in the perception of single chords, 2) makes a case for why studying the role of vertical harmony, isolated from other musical cues, is insightful, and 3) questions the relevance of appoggiaturas as an
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The Expectancy Dynamics of Anti-Tonal Twelve-Tone Rows: A Commentary and Reanalysis of von Hippel & Huron (2020) Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Niels Chr. Hansen
This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of "anti-tonality" in rows by Schoenberg and Webern is offered
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Methods of Measuring Musical Tension: Commentary on Teo (2020) Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Caitlyn Trevor
This commentary discusses the motivation, methods, and results of Teo's (2020) article on using Aggregate Voice-Leading (AVL) motion to predict perceived harmonic tension within post-tonal, neoclassical repertoire. The successes of the study as well as possible improvements are furthermore discussed. The final section contemplates some of Teo's results in light of BaileyShea and Monahan's (2018) embodied
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Commentary on Schotanus, "Singing and Accompaniment Support the Processing of Song Lyrics and Change the Lyrics' Meaning" Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Christopher S. Lee
In this commentary, a number of problematic aspects of the studies presented in the target article are discussed. Suggestions have been made for further analyses of some of the data and for additional experimental investigations.
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Tonal and "Anti-Tonal" Cognitive Structure in Viennese Twelve-Tone Rows Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Paul T. Von Hippel,David Huron
We show that the twelve-tone rows of Arnold Schoenberg and Anton Webern are "anti-tonal"—that is, structured to avoid or undermine listener's tonal schemata. Compared to randomly generated rows, segments from Schoenberg's and Webern's rows have significantly lower fit to major and minor key profiles. The anti-tonal structure of Schoenberg's and Webern's rows is still evident when we statistically controlled
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Singing and Accompaniment Support the Processing of Song Lyrics and Change the Lyrics' Meaning Empirical Musicology Review (IF 0.6) Pub Date : 2020-10-22 Yke Schotanus
A growing body of evidence indicates that music can support the processing of language. Some of its beneficial effects may even occur after one exposure. Accompaniment can also have an impact: in a-cappella singing, silences and out-of-key notes may confuse listeners, while accompaniment avoids silences and elucidates both rhythm and harmony, thereby supporting music-processing and concentration. These
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Commentary on Gilad Rabinovitch's "Unplayed Galant Melodies, the Ubiquity of the Rarest Interval, and the Heyday of the Major Mode." Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 David Clampitt
This is a commentary accompanying Rabinovitch (2019), situating the research within some previous work on scale theory.
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Descending Bass Schemata and Negative Emotion in Western Song Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Nicholas Shea
A descending bass line coordinated with sad lyrics is often described as evoking the "lament" topic—a signal to listeners that grief is being conveyed (Caplin, 2014). In human speech, a similar pattern of pitch declination occurs as air pressure is lost ('t Hart, Collier, & Cohen, 1990) which—coordinated with the premise that sad speech is lower in pitch (Lieberman & Michaels, 1962)—suggests there
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Commentary on Shaffer et al.: A cluster analysis of harmony in the McGill Billboard dataset Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Daniel Müllensiefen
This short commentary on the target paper by "A cluster analysis of harmony in the McGill Billboard" by Shaffer et al. starts with observing that not all harmonic progressions that are theoretically possible are equally common. Instead, some progressions are more popular than others in popular. In fact, certain harmonic progressions are closely associated with specific styles and sub-genres and it
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What is a "Lament," Really?: A Commentary on Nicholas Shea's "Descending Bass Schemata and Negative Emotion in Western Song" Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Bryn Hughes
This commentary focuses on Shea (2019) and its relationship to much of the literature on popular and rock music. The commentary offers some methodological considerations on the construction of corpora for this type of analysis. The commentary questions the operational definition of 'lament,' and laud's Shea's work in attempting to create a more thorough, objective definition. Ultimately, the commentary
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Unplayed Galant Melodies, the Ubiquity of the Rarest Interval, and the Heyday of the Major Mode Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Gilad Rabinovitch
This article examines in a preliminary fashion the potential connections between the usage of Gjerdingen's (1988, 2007) skeletal galant schemata, the heyday of the major mode during the period 1750-1799 (Albrecht & Huron, 2014; Horn & Huron, 2015), and the rare intervals of the diatonic set (Browne, 1981). I discuss the relations between the rarity of the tritone and semitone in the diatonic template
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Commentary on De Souza and Lokan (2019) Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Jan Miyake
This contribution is a brief commentary on the paper "Hypermetrical Irregularity in Sonata Form: A Corpus Study" by Jonathan De Souza and David Lokan. The original paper explores the hypothesis that in a sonata form, the development is more hypermetrically stable than the exposition. The published data support the hypothesis. The commentary suggests other paths for discussion and further tweaks to
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Hypermetrical Irregularity in Sonata Form: A Corpus Study Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Jonathan De Souza,David Lokan
In sonata form, development sections are characterized by tonal, textural, and phrase-structural instability. But are these instabilities counterbalanced by regularity in other musical domains? Are any syntactic layers more consistent in developments, relative to expositions or recapitulations? This corpus study examined hypermeter in expositions and developments from eighteenth- and nineteenth-century
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Fame, Obscurity and Power Laws in Music History Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Andrew Gustar
This paper investigates the processes leading to musical fame or obscurity, whether for composers, performers, or works themselves. It starts from the observation that the patterns of success, across many historical music datasets, follow a similar mathematical relationship known as a power law, often with an exponent approximately equal to two. It presents several simple models which can produce power
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A cluster analysis of harmony in the McGill Billboard dataset Empirical Musicology Review (IF 0.6) Pub Date : 2020-07-06 Kris Shaffer, Esther Vasiete, Brandon Jacquez, Aaron Davis, Diego Escalante, Calvin Hicks, Joshua McCann, Camille Noufi, Paul Salminen
We set out to perform a cluster analysis of harmonic structures (specifically, chord-to-chord transitions) in the McGill Billboard dataset, to determine whether there is evidence of multiple harmonic grammars and practices in the corpus, and if so, what the optimal division of songs, according to those harmonic grammars, is. We define optimal as providing meaningful, specific information about the
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Commentary on Lahdelma and Eerola Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 Michael Spitzer
This commentary offers a critique of the idea that nostalgia can be conveyed by a single chord – a major 7 th . The commentary questions the constancy of emotion conveyed by a single chord in its different manifestations, and the extent to which it can afford perception of a complex emotion such as nostalgia.
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The Influence Machine: A Commentary on Hähnel and Martensen (2019) Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 Daniel Shanahan
This commentary discusses and contextualizes Hahnel and Martensen's analysis of Edison's recordings and correspondence, situating their study within some of the work done on the diffusion of innovations, and some other work on the history of recording. Their findings–that the mechanical limitations of recording possibly contributed to Edison's distaste for vocal vibrato–is mirrored in much of the work
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Negative Emotion Responses to Heavy-Metal and Hip-Hop Music with Positive Lyrics Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 Marco Susino, Emery Schubert
This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal
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How Thomas A. Edison shaped today's singing ideal: Tracking his ambiguous concept of tremolo by analysing archival documents and sound recordings Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 Tilo Hähnel, Karin Martensen
We linked an analysis of vocal vibratos in early recordings with Edison's dismissive attitude towards singers' tremolos in the same recordings. We conclude that there are at least two different factors contributing to Edison's concept of tremolo, which include a) technical limitations and artefacts related to the recording process, and b) aesthetic judgements based on his taste for a good singing voice
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Structure and Proportion in Hindustani Ālāp Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 John Napier
In this paper, I investigate structural proportions in improvised Hindustani (North Indian) vocal music. 235 examples of two types of ālāp were examined: 175 in the genre of khayāl , 60 in the genre of dhrupad . Both studio recordings and recordings of concerts were used. Three sets of proportions were investigated: the climactic arrival at the upper tonic as a proportion of the time till a point of
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Expanding and Contracting Definitions of Syncopation: Commentary on Temperley 2019 Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 Nat Condit-Schultz
In the article Second-Position Syncopation in European and American Vocal Music , David Temperley presents an empirical, socio-cultural survey of syncopation in 19th-century Western music. He espouses the following novel ideas about operational definitions of syncopation: 1) that syncopations on the second position of a duple hierarchy are musically, and culturally, distinct from fourth-position syncopations;
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Measuring Stereotypes in Music: A Commentary on Susino and Schubert (2019) Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 Manuel Anglada-Tort
In this commentary, I first discuss the strengths of the target paper and provide suggestions for future research. I proceed to point out an important limitation of the target study as well as contribute considerations relevant to measuring stereotypes in music. Finally, I present a novel theoretical account to explain music stereotyping, namely, the representativeness heuristic (Tversky & Kahneman
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Second-Position Syncopation in European and American Vocal Music Empirical Musicology Review (IF 0.6) Pub Date : 2019-11-26 David Temperley
I define a second-position syncopation as one involving a long note or accent on the second quarter of a half-note or quarter-note unit. I present a corpus analysis of second-position syncopation in 19th-century European and American vocal music. I argue that the analysis of syncopation requires consideration of other musical features besides note-onset patterns, including pitch contour, duration,
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Review of Karen Burland & Stephanie Pitts (editors), Coughing and Clapping: Investigating the Audience Experience. Oxford: Routledge, 2016. Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 David John Baker
No abstract available.
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A Call for Hypothesis-Driven, Multi-Level Analysis in Research on Emotional Word Painting in Music: Commentary on Sun & Cuthbert (2018) Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 Niels Chr. Hansen
This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painting in a corpus of English-language popular and folk songs. The authors are complimented for their application of computational tools to an impressively large sample of a somewhat understudied musical genre, and for their detailed level of analysis mapping musical features to the semantic content of individual
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How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors? Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 Wilfried Gruhn, Reet Ristmägi, Peter Schneider, Arun D'Souza, Kristi Kiilu
Absolute pitch (AP) is the ability to identify or produce a given pitch without a reference. This study examines the stability of pitch labeling accuracy in a broad sample of AP possessors when natural complex tones are compared to modified sound structures (slightly out-of-tune pitches, sounds with missing fundamentals, and pure tones). A passive listening test with single tones was developed (Tallinn
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Commentary on "How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors?" by W. Gruhn, R. Ristmägi, P. Schneider, A. d'Souza, & K. Kiilu Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 Kathrin Bettina Schlemmer
This paper is a brief commentary on the paper "How stable is pitch labeling accuracy in absolute pitch possessors" by W. Gruhn, R. Ristmagi, P. Schneider, A. d'Souza, and K. Kiilu. The original paper presents evidence for the influence of timbre on the pitch labeling accuracy of absolute pitch (AP) possessors. The presented data result from a solid methodology and show a clear pitch labeling accuracy
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The Power of Sound Design in a Moving Picture: an Empirical Study with emoTouch for iPad Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 Maximilian Kock, Christoph Louven
The art of sound design for a moving picture rests basically on the work experience of pragmatists. This study tries to establish some guidelines on sound design: In an experiment 240 participants gave feedback about their emotions while watching two videos, each combined with four different audio tracks – music, sound effects, full sound design (music and sound effects) and no audio (as the comparative
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Investigating Sound Design in Film: A Commentary on Kock and Louven Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 Siu-Lan Tan
Kock and Louven (in this issue) examined the effects of music, sound effects, full sound design (music and sound effects) and no sound on self-reported measures of immersion and suspense in real time, as viewers watched very brief original films. This commentary discusses the method, analysis, and implications of their findings within the broader context of the state of the art of film music research
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Commentary on Gruhn et al.'s "How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors?" Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 Kelly Jakubowski
In this commentary, I discuss the results and implications of "How stable is pitch labeling accuracy in absolute pitch possessors?" by Gruhn, Ristmagi, Schneider, D'Souza, and Kiilu (2018). Their work provides some new insights on the accuracy of single tone labeling by absolute pitch (AP) possessors as a function of the spectral content of the presented tones. Previous findings on the effects of the
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Commentary on: The Power of Sound Design in a Moving Picture by Kock and Louven Empirical Musicology Review (IF 0.6) Pub Date : 2019-04-18 Ann-Kristin Herget
This commentary addresses the paper by Kock and Louven about the power of sound design in a moving picture. Some further ideas regarding the theoretical context with suggestions on future methodological considerations are given. Special emphasis on the relevance of the research approach concludes the commentary.
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Commentary on "Two studies of Autonomous Sensory Meridian Response (ASMR): The Relationship between ASMR and Music-Induced Frisson" by Alexsandra Kovacevich and David Huron Empirical Musicology Review (IF 0.6) Pub Date : 2019-01-17 Nicolas Ruth
No abstract available.