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The KnowledgeBank at OSU (79.989 recursos)

Knowledge Bank contains collections of presentations, publications and reports related to Ohio State University.

Empirical Musicology Review: Volume 3, Number 3 (2008)

Mostrando recursos 1 - 11 de 11

  1. Announcements

    Thompson, William Forde
    notices, calls for papers and conference announcements

  2. Review of Fourth Meeting of Neurosciences and Music, Montreal, 2008

    McDermott, Josh
    review of Fourth Meeting of Neurosciences and Music, Montreal, 2008

  3. Review of "Practicing Perfection: Memory and Piano Performance"

    Geeves, Andrew; Christensen, Wayne; Sutton, John; McIlwain, Doris
    review of Roger Chaffin, Gabriela Imreh & Mary Crawford, Practicing Perfection: Memory and Piano Performance. New York: Laurence Erlbaum Associates, 2002. ISBN 0-80-582610-6 (hardcover) $180.00.

  4. The internal validity of web-based studies

    Lacherez, Philippe
    Honing and Ladinig (2008) make the assertion that while the internal validity of web-based studies may be reduced, this is offset by an increase in external validity possible when experimenters can sample a wider range of participants and experimental settings. In this paper, the issue of internal validity is more closely examined, and it is agued that there is no necessary reason why internal validity of a web-based study should be worse than that of a lab-based one. Errors of measurement or inconsistencies of manipulation will typically balance across conditions of the experiment, and thus need not necessarily threaten the...

  5. Commentary on "Comparative Analysis of Music Recordings from Western and Non-Western traditions by Automatic Tonal Feature Extraction" by Emilia Gómez, and Perfecto Herrera

    Lartillot, Oliver; Toiviainen, Petri; Eerola, Tuomas
    The article by Gómez and Herrera presents an original methodology, audaciously situated on a challenging junction between computer science, cognitive science and ethnomusicology. We hope expert ethnomusicologists will understand the experimental aspect of such a cross-disciplinary undertaking, and will pardon the potential imperfection in this computational attempt toward cross-cultural understanding. Despite the few shortcomings discussed in this commentary, we think the general methodology described in this paper is of high interest.

  6. Comparative Analysis of Music Recordings from Western and Non-Western traditions by Automatic Tonal Feature Extraction

    Gómez, Emilia; Herrera, Perfecto
    The automatic analysis of large musical corpora by means of computational models overcomes some limitations of manual analysis, and the unavailability of scores for most existing music makes necessary to work with audio recordings. Until now, research on this area has focused on music from the Western tradition. Nevertheless, we might ask if the available methods are suitable when analyzing music from other cultures. We present an empirical approach to the comparative analysis of audio recordings, focusing on tonal features and data mining techniques. Tonal features are related to the pitch class distribution, pitch range and employed scale, gamut and...

  7. Commentary on "The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate" by Michael Schutz, David Huron, Kristopher Keeton, & Greg Loewer

    Eitan, Zohar
    In this commentary, I raise several issues of method and presentation and suggest a number of follow-up experiments associated with some of these issues. Broad suggestions are also made (or rather preached): the need to deal empirically with musical emotions subtler than the oft-investigated basic emotions, and the role that interactions between musical variables may play in shaping subtle musical expression, as exemplified by some well-known xylophone soli from the orchestral repertory.

  8. The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate

    Schutz, Michael; Huron, David; Keeton, Kristopher; Loewer, Gred
    In many ways, the structure of music resembles that of language, including the acoustic cues used to communicate emotion. In speech, sadness is imparted through a combination of low fundamental frequency, dark timbre, and a slow rate of articulation. As the acoustic properties of the xylophone are not conducive to mimicking these cues, it seems to follow that composers would avoid attempts to write “sad” music for it. We investigated this idea by comparing the repertoire of the xylophone with that of the marimba – a similar instrument whose acoustic structure permits a greater variety of timbres, pitch heights, and...

  9. Comparison of Word Intelligibility in Spoken and Sung Phrases

    Collister, Lauren B.; Huron, David
    Twenty listeners were exposed to spoken and sung passages in English produced by three trained vocalists. Passages included representative words extracted from a large database of vocal lyrics, including both popular and classical repertoires. Target words were set within spoken or sung carrier phrases. Sung carrier phrases were selected from classical vocal melodies. Roughly a quarter of all words sung by an unaccompanied soloist were misheard. Sung passages showed a seven-fold decrease in intelligibility compared with their spoken counterparts. The perceptual mistakes occurring with vowels replicate previous studies showing the centralization of vowels. Significant confusions are also evident for consonants,...

  10. Seeing Music? What musicians need to know about vision

    Schutz, Michael
    Music is inherently an auditory art form, rooted in sound, and generally analyzed in terms of its acoustic properties. However, as the process of hearing is affected by seeing, visual information does in fact play an important role in the musical experience. Vision influences many aspects of music – from evaluations of performance quality and audience interest to the perception of loudness, timbre, and note duration. Moreover, it can be used to achieve musical goals that are in fact acoustically impossible. As such, understanding the benefits of embracing (and the costs of ignoring) vision’s role is essential for all musicians....

  11. Editor's note

    Thompson, Bill

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