{"title":"Commentary on Harrison: \"Social Mechanisms of Stylistic Change\"","authors":"S. Burgess","doi":"10.18061/emr.v15i3-4.8134","DOIUrl":null,"url":null,"abstract":"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 change also depended on other factors such as composers' generational membership. This commentary primarily explores Harrison's methodologies: while the stringent definitions Harrison defines for each variable in her studies allow for specificity in the statistical analyses, they leave out a large portion of perceptually relevant data that would lend greater musicological generalizability to the results presented.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.6000,"publicationDate":"2021-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Empirical Musicology Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18061/emr.v15i3-4.8134","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
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 change also depended on other factors such as composers' generational membership. This commentary primarily explores Harrison's methodologies: while the stringent definitions Harrison defines for each variable in her studies allow for specificity in the statistical analyses, they leave out a large portion of perceptually relevant data that would lend greater musicological generalizability to the results presented.