Empirical Musicology Review最新文献_第5页

Comparing Word Affect and Tone Affect: Comment on Sun and Cuthbert 2017 词语情感与语气情感之比较——评孙和卡斯伯特2017

Empirical Musicology Review Pub Date : 2020-10-22 DOI: 10.18061/emr.v15i1-2.7676

Y. Schotanus

{"title":"Comparing Word Affect and Tone Affect: Comment on Sun and Cuthbert 2017","authors":"Y. Schotanus","doi":"10.18061/emr.v15i1-2.7676","DOIUrl":"https://doi.org/10.18061/emr.v15i1-2.7676","url":null,"abstract":"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 features, particularly mode-related musical features and lyric affect, were either insignificant or even contradicted previous research. In the current commentary, it is argued that the difference between the musical features that show significant correlations and those that do not is that the former have a local musical effect whereas the latter tend to affect the mood of a whole phrase or piece, and that the way Sun and Cuthbert estimate lyric affect for sentences or song may not be appropriate. Furthermore, a few remarks are made about the way Sun and Cuthbert treat multi-syllable words and about some basic assumptions concerning the relation between music and lyrics in a song. Nevertheless, the authors are praised for their innovative and interesting work, while several alternative and additional analyses (for example with scale-degree qualia and syncopations) are proposed.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47225822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Singing and Accompaniment Support the Processing of Song Lyrics and Change the Lyrics' Meaning 歌唱和伴奏支持歌词的加工，改变歌词的意义

Empirical Musicology Review Pub Date : 2020-10-22 DOI: 10.18061/emr.v15i1-2.6863

Y. Schotanus

{"title":"Singing and Accompaniment Support the Processing of Song Lyrics and Change the Lyrics' Meaning","authors":"Y. Schotanus","doi":"10.18061/emr.v15i1-2.6863","DOIUrl":"https://doi.org/10.18061/emr.v15i1-2.6863","url":null,"abstract":"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 hypotheses were tested in two experiments. In a classroom setting, 271 pupils (M = 15.7 years old, SD = 0.9), listened to five out of 24 tracks (four songs in six different conditions) and completed a questionnaire after each one. As expected, the instrumental interludes between sung or spoken phrases in accompanied versions were rated less distracting than the silences that replace them in unaccompanied ones. Furthermore, perceived arousal, emotion, valence, and purity of singing were rated more positively in accompanied versions. Singing, on the other hand, supports the perceived intelligibility and comprehensibility of the lyrics. Finally, the music makes repetitions of words and phrases more meaningful and changes the lyrics’ emotional meaning, wereby some aspects of sadness are associated with negative affect while other aspects of sadness are associated with positive affect. These results were by and large replicated in a better randomized laboratory experiment among 24 adults (M = 24.4; SD = 4.8). Submitted 2018 November 26; accepted 2020 August 6. Published 2020 October 22; https://doi.org/10.18061/emr.v15i1-2.6863","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"15 1","pages":"18"},"PeriodicalIF":0.0,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42858322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Evolutionary Voices in Gary Tomlinson's A Million Years of Music 加里·汤姆林森的《一百万年的音乐》中的进化之声

Empirical Musicology Review Pub Date : 2020-10-22 DOI: 10.18061/emr.v15i1-2.7551

Miriam Piilonen

引用次数: 0

A Response to Michael Spitzer's Commentary 对Michael Spitzer评论的回应

Empirical Musicology Review Pub Date : 2020-10-22 DOI: 10.18061/emr.v15i1-2.7324

Imre Lahdelma, T. Eerola

引用次数: 0

Dimensions of Atonality: A Response and Extension of von Hippel and Huron (2020) 无极性的维度：对von Hippel和Huron（2020）的回应和扩展

Empirical Musicology Review Pub Date : 2020-10-22 DOI: 10.18061/emr.v15i1-2.7832

Jason Yust

引用次数: 1

Commentary on De Souza and Lokan (2019) 德索萨和洛坎评论（2019）

Empirical Musicology Review Pub Date : 2020-07-06 DOI: 10.18061/emr.v14i3-4.7568

Jan Miyake

引用次数: 0

Fame, Obscurity and Power Laws in Music History 音乐史上的名声、默默无闻与权力法则

Empirical Musicology Review Pub Date : 2020-07-06 DOI: 10.18061/emr.v14i3-4.7003

A. Gustar

{"title":"Fame, Obscurity and Power Laws in Music History","authors":"A. Gustar","doi":"10.18061/emr.v14i3-4.7003","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.7003","url":null,"abstract":"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 law distributions. An examination of these models' transience characteristics suggests parallels with some historical music examples, giving clues to the ways that success and obscurity might emerge in practice and the extent to which success might be influenced by inherent musical quality. These models can be seen as manifestations of a more fundamental process resulting from the law of maximum entropy, subject to a constraint on the average value of the logarithm of the success measure. This implies that musical success is a multiplicative quality, and suggests that musical markets operate to strike a balance between familiarity (socio-cultural importance) and novelty (individual importance). The common power law exponent of two is seen to emerge as a consequence of the tendency for musical activity to be spread evenly across the log-success bands.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42637217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Commentary on Gilad Rabinovitch's "Unplayed Galant Melodies, the Ubiquity of the Rarest Interval, and the Heyday of the Major Mode." 评论吉拉德·拉宾诺维奇的“未经安排的华丽旋律，罕见音程的普遍性，以及主要模式的辉煌”

Empirical Musicology Review Pub Date : 2020-07-06 DOI: 10.18061/emr.v14i3-4.7571

David Clampitt

引用次数: 0

Hypermetrical Irregularity in Sonata Form: A Corpus Study 奏鸣曲式的超韵律不规则:语料库研究

Empirical Musicology Review Pub Date : 2020-07-06 DOI: 10.18061/emr.v14i3-4.6906

Jonathan De Souza, David Lokan

引用次数: 0

Unplayed Galant Melodies, the Ubiquity of the Rarest Interval, and the Heyday of the Major Mode 未演奏的华丽旋律、稀有音程的普遍性与主调式的辉煌

Empirical Musicology Review Pub Date : 2020-07-06 DOI: 10.18061/emr.v14i3-4.6070

Gilad Rabinovitch

{"title":"Unplayed Galant Melodies, the Ubiquity of the Rarest Interval, and the Heyday of the Major Mode","authors":"Gilad Rabinovitch","doi":"10.18061/emr.v14i3-4.6070","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.6070","url":null,"abstract":"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 and in musical usage (Huron 2006, 2008; David Temperley, personal communication, 2017). I hypothesize that the skeletal usage of schemata emphasizes rare intervals (tritone and semitone) respective to their common counterparts. Though this is predominantly an armchair, speculative inquiry, a preliminary pilot analysis of a small expert-annotated corpus from Gjerdingen (2007) provides tentative support for the hypothesis that the skeletal usage of schemata overemphasizes vertical tritones, but not melodic semitones. The prevalence of skeletal tritones in the schemata abstracted by Gjerdingen suggests that the process of abstraction is associated with finding unambiguous cues for a local tonal context. While the present article relies on Gjerdingen's expert analytical annotations of a small corpus and extraction of a contrapuntal skeleton, I conclude by offering hypotheses for future testing regarding the increased prevalence and salience of tritones on the musical surface in the period 1750-1799, a subset of common-practice tonality.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"90-134"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48858368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1