{"title":"对Michael Spitzer评论的回应","authors":"Imre Lahdelma, T. Eerola","doi":"10.18061/emr.v15i1-2.7324","DOIUrl":null,"url":null,"abstract":"The authors respond to the commentary by Michael Spitzer which appeared in Vol. 14, No. 1-2 of Empirical Musicology Review. The response 1) points out the problem with equating nostalgia and tension in the perception of single chords, 2) makes a case for why studying the role of vertical harmony, isolated from other musical cues, is insightful, and 3) questions the relevance of appoggiaturas as an explanation for the perception of nostalgia in single chords. Submitted 2019 December 6; accepted 2020 August 6. Published 2020 October 22; https://doi.org/10.18061/emr.v15i1-2.7324","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"15 1","pages":"141"},"PeriodicalIF":0.6000,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A Response to Michael Spitzer's Commentary\",\"authors\":\"Imre Lahdelma, T. Eerola\",\"doi\":\"10.18061/emr.v15i1-2.7324\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The authors respond to the commentary by Michael Spitzer which appeared in Vol. 14, No. 1-2 of Empirical Musicology Review. The response 1) points out the problem with equating nostalgia and tension in the perception of single chords, 2) makes a case for why studying the role of vertical harmony, isolated from other musical cues, is insightful, and 3) questions the relevance of appoggiaturas as an explanation for the perception of nostalgia in single chords. Submitted 2019 December 6; accepted 2020 August 6. Published 2020 October 22; https://doi.org/10.18061/emr.v15i1-2.7324\",\"PeriodicalId\":44128,\"journal\":{\"name\":\"Empirical Musicology Review\",\"volume\":\"15 1\",\"pages\":\"141\"},\"PeriodicalIF\":0.6000,\"publicationDate\":\"2020-10-22\",\"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.v15i1-2.7324\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Empirical Musicology Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18061/emr.v15i1-2.7324","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
The authors respond to the commentary by Michael Spitzer which appeared in Vol. 14, No. 1-2 of Empirical Musicology Review. The response 1) points out the problem with equating nostalgia and tension in the perception of single chords, 2) makes a case for why studying the role of vertical harmony, isolated from other musical cues, is insightful, and 3) questions the relevance of appoggiaturas as an explanation for the perception of nostalgia in single chords. Submitted 2019 December 6; accepted 2020 August 6. Published 2020 October 22; https://doi.org/10.18061/emr.v15i1-2.7324
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