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Empirical Musicology Review: Volume 3, Number 4 (2008)

Mostrando recursos 1 - 8 de 8

  1. Announcements

    Thompson, Bill
    Calls for Papers and Conferences

  2. Editor's note

    Thompson, Bill
    overview of issue

  3. Review of Aniruddh D. Patel, Music, Language and the Brain

    Demorest, Steven M.
    1. Introduction 2. Sound Elements: Pitch and Timbre 2.1 Introduction 2.2 Musical Sound Systems 2.3 Linguistic Sound Systems 2.4 Sound Category Learning as a Key Link 2.5 Conclusion Appendices 3. Rhythm 3.1 Introduction 3.2 Rhythm in Music 3.3 Rhythm in Speech 3.4 Interlude: Rhythm in Poetry and Song 3.5 Non-Periodic Aspects of Rhythm as a Key Link 3.6 Conclusion Appendices 4. Melody 4.1 Introduction 4.2 Melody in Music: Comparisons to Speech 4.3 Speech Melody: Links to Music 4.4 Interlude: Musical and Linguistic Melody in Song 4.5 Melodic Statistics and Melodic Contour as Key Links 4.6 Conclusion Appendices 5. Syntax 5.1...

  4. Commentary on "Comparison of Word Intelligibility in Spoken and Sung Phrases" by Lauren Collister and David Huron

    Sundberg, Johan; Ternström, Sten
    We note that the intelligibility of vowels is reduced at high pitches, and propose that decreased decoding of vowels may partially account for the reported findings. Analysis of performance as a function of pitch is recommended. We surmise that reverberation associated with the large microphone distance might have generated reverberation that interfered disproportionately with identification of consonants in sung stimuli, which usually have greater sound intensity than spoken stimuli. Finally, we note the potential relevance of vibrato for speech intelligibility.

  5. Review of "Perception and production of linguistic and musical rhythm by Korean and English middle school students" by Lydia N. Slobodian

    Iversen, John R.
    Interest in possible cultural influences on basic rhythm perception and production has been growing, and the paper by Slobodian (2008) fits squarely in this trend, studying rhythm perception and production in a large number English and Korean native speakers. The findings were interpreted in terms of cross-cultural similarity, suggesting that preferences, e.g. for binary meter, are broadly shared across cultures. As is commonly encountered in cross-cultural research, however, there were several difficulties in offering a clear interpretation of the results, such as the large extent of Western music enculturation of the Korean participants. This commentary will review Slobodian’s findings, offering...

  6. Commentary on "Effects of Early Musical Experience on Auditory Sequence Memory" by Adam Tierney, Tonya Bergeson-Dana, and David Pisoni

    Schellenberg, E. Glenn
    Tierney, Bergeson-Dana, and Pisoni (2008) conclude that their results “provide additional converging evidence that early musical experience and activity-dependent learning may selectively affect verbal rehearsal processes and the allocation of attention in sequence memory tasks”. Closer inspection of their methods and results, the methods and results of previous studies that reported similar findings and the literature as a whole makes it clear that these conclusions are unfounded.

  7. Perception and production of linguistic and musical rhythm by Korean and English middle school students

    Slobodian, Lydia N.
    I examine rhythmic tendencies of Korean and Western middle school students in linguistic and abstract musical contexts using a series of speaking and clapping experiments. Results indicate a preference in both groups for beat subdivisions in small integer ratios and simple binary metric interpretations. These preferences are consistently more exaggerated in native English speaking students than in Korean students. Tempo was a significant factor in all tasks.

  8. Effects of Early Musical Experience on Auditory Sequence Memory

    Tierney, Adam T.; Bergeson, Tonya R.; Pisoni, David B.
    The present study investigated a possible link between musical training and immediate memory span by testing experienced musicians and three groups of musically inexperienced subjects (gymnasts, Psychology 101 students, and video game players) on sequence memory and word familiarity tasks. By including skilled gymnasts who began studying their craft by age six, video game players, and Psychology 101 students as comparison groups, we attempted to control for some of the ways skilled musicians may differ from participants drawn from the general population in terms of gross motor skills and intensive experience in a highly skilled domain from an early age....

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