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The KnowledgeBank at OSU (80.071 recursos)

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Empirical Musicology Review: Volume 5, Number 3 (2010)

Mostrando recursos 1 - 7 de 7

  1. Announcements

    Keller, Peter E.
    Call For Papers, Conferences, Podcasts

  2. Quantifying the Use of Dynamics in Western Keyboard Music: Lessons and Problems

    Fabian, Dorottya
    Ladinig and Huron’s (2010) investigation of the relationship between mode (major-minor) and dynamics in Classical and Romantic piano music indicated higher levels of dynamics for compositions from the Classical period but only in major-mode pieces. This was contrary to the expectation that minor mode pieces from the Romantic era would be louder because romantic composers may have intended to convey seriousness, passion or even aggression, rather than sadness. Although the methodology was carefully crafted to enable necessary control for a quantitative study, it also contributed to the questionable relevance of the results. It is arguable whether the chosen repertoire is...

  3. Reaction, Anticipation and Accent in a Gravitational Pitch Space: Commentary on Ammirante and Thompson

    Eitan, Zohar
    Ammirante and Thompson’s intriguing article aims to enhance the ecological validity of their previous findings (Ammirante, Thompson, & Russo, in press) by using music-like melodic stimuli, rather than random pitch sequences. In line with this aim, I will briefly discuss three issues that may be taken into account in relating the motion-like qualities of melody to music and music-related behavior (finger tapping). First, I suggest how the authors’ hypotheses may be examined within a context in which tapping is affected by expectancies for a specific melodic continuation. Second, I discuss how timing and velocity changes associated with melodic distance and...

  4. What Do Interval Cycles Have To Do With Tonal Harmony?

    Quinn, Ian
    Woolhouse’s (2010) central empirical finding is a relatively high correlation between his interval-cycle proximity (ICP) model and the theorist Walter Piston’s (1979) Table of Usual Root Progressions. The fit between these two models can be understood in terms of a classification of chord progressions by root interval class (second, third, fifth) and directionality (strong, weak). The ICP model does not perform as well on data on chord progressions in Tymoczko’s (forthcoming) corpora of music by Bach and Mozart. The alternative MHP model (Quinn, 2010) does not fit the Piston data as well as the ICP model, but it fits the...

  5. Melodic Accent as an Emergent Property of Tonal Motion

    Ammirante, Paolo; Thompson, William Forde
    In a previous continuation tapping study (Ammirante, Thompson, & Russo, in press), each tap triggered a discrete tone in a sequence randomly varying in pitch height and contour. Although participants were instructed to ignore the tones, pitch distance and pitch contour influenced intertap interval (ITI) and tap velocity (TV). The current study replicated these findings with original melodies. Results were interpreted as an effect of apparent tonal motion, with deviation in ITI and TV mirroring implied tonal acceleration. Due to overlapping perceptual and motor representations, participants may have failed to disambiguate acceleration implied by tonal motion from the acceleration of...

  6. Modes on the Move: Interval Cycles and the Emergence of Major-Minor Tonality

    Woolhouse, Matthew
    The issue of the emergence of major-minor tonality is addressed by recourse to a novel pitch grouping process, referred to as interval cycle proximity (ICP). An interval cycle is the minimum number of (additive) iterations of an interval that are required for octave-related pitches to be re-stated, a property conjectured to be responsible for tonal attraction. It is hypothesised that the actuation of ICP in cognition, possibly in the latter part of the sixteenth century, led to a hierarchy of tonal attraction which favoured certain pitches over others, ostensibly the tonics of the modern major and minor system. An ICP...

  7. Editor's Note

    Keller, Peter E.

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