Empirical Musicology Review: Volume 2, Number 4 (2007)

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https://kb.osu.edu/handle/1811/81083

Empirical Musicology Review Vol. 2, No. 4, 2007

Issue DOI: https://doi.org/10.18061/1811/81083

Editor's Note
Butler, David p. 122
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On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts
Huron, David pp. 123-139
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Commentary on David Huron's "On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts"
Edworthy, Judy; Knast, Alicja pp. 140-145
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Comments on "Facilitation and Coherence Between the Dynamic and Retrospective Perception of Segmentation in Computer-Generated Music," by Freya Bailes and Roger T. Dean
Cross, Ian; Rohrmeier, Martin pp. 146-148
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A Response to Cross & Rohrmeier's 'Comments on Facilitation and Coherence Between the Dynamic and Retrospective Perception of Segmentation in Computer-Generated Music'
Bailes, Freya; Dean, Roger pp. 149-151
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Documentation is Documentation and Theory is Theory: A Reply to Daniel Avorgbedor's Commentary "Documenting Spoken and Sung Texts of the Dagaaba of West Africa"
Mora, Manolete; Bodomo, Adams pp. 152-154
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David Temperley, Music and Probability
Pearce, Marcus; Müllensiefen, Daniel; Lewis, David; Rhodes, Christophe pp. 155-163
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Announcements
Butler, David pp. 164-165
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Now showing 1 - 8 of 8

Announcements
(Empirical Musicology Review, 2007-10) Butler, David
David Temperley, Music and Probability
(Empirical Musicology Review, 2007-10) Pearce, Marcus; Müllensiefen, Daniel; Lewis, David; Rhodes, Christophe
Documentation is Documentation and Theory is Theory: A Reply to Daniel Avorgbedor's Commentary "Documenting Spoken and Sung Texts of the Dagaaba of West Africa"
(Empirical Musicology Review, 2007-10) Mora, Manolete; Bodomo, Adams
In a response to an article that appeared in Empirical Musicology Review (Bodomo and Mora 2007), Avorgbedor (2007) takes issue with aspects of the paper. In our reply to Avorgbedor’s response we will firstly clarify some issues raised therein and secondly address the issue about the relationship between theory, description and documentation within linguistics and musicology.
A Response to Cross & Rohrmeier's 'Comments on Facilitation and Coherence Between the Dynamic and Retrospective Perception of Segmentation in Computer-Generated Music'
(Empirical Musicology Review, 2007-10) Bailes, Freya; Dean, Roger
The commentary by Cross and Rohrmeier (2007) attempts to locate our paper (Bailes and Dean, 2007a) as a study of timbre, and points out the ongoing development of research in this area, including attempts to define psychoacoustic thresholds of perception. However, our work is directed to understanding broader psychological phenomena such as the impact of sound duration on the perception of structure in computer music, and the concordance between real-time and retrospective measures. We discuss further our identification of an asymmetrical detection of sound segmentation, questioning the conceptual distinctions of timbre perception that Cross and Rohrmeier propose.
Comments on "Facilitation and Coherence Between the Dynamic and Retrospective Perception of Segmentation in Computer-Generated Music," by Freya Bailes and Roger T. Dean
(Empirical Musicology Review, 2007-10) Cross, Ian; Rohrmeier, Martin
Although the study by Bailes & Dean (2007) addresses an underresearched area of auditory and musical perception, it raises questions concerning stimuli, methodology, and the study's relation to previous research, that are outlined in this commentary.
Commentary on David Huron's "On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts"
(Empirical Musicology Review, 2007-10) Edworthy, Judy; Knast, Alicja
In his article ‘On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts’, David Huron (2007) takes four metrics known in the psychological literature to affect perceptual segregation and applies them to embellished versus unembellished versions of 50 of Bach’s chorales. In all cases he argues and demonstrates that the embellished versions of the chorales are more likely to induce segregation than the unembellished versions. This commentary concurs with his view, with the possible exception of co-modulation, for which we argue the data and analysis is both rather weak and somewhat unclear in its detail. It is argued in the commentary also that although the data do largely support the view, it is the only conclusion possible as the unembellished chorales are simple monodic devices, of which almost any type of development or embellishment is almost bound to increase the ability of a listener to segregate the parts. We also provide some background historical and cultural context as the use of the chorale in Bach’s time, particularly the fact that they were generally sung rather than played or listened to outside a religious setting, has an important bearing on the way they were written.
On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts
(Empirical Musicology Review, 2007-10) Huron, David
An analysis of 50 chorale harmonizations by J.S. Bach shows that the use of embellishment tones is consistent with several principles known to contribute to the perceptual segregation of auditory streams. The results imply that a major role of embellishment tones may be to enhance the perceptual independence of the individual parts or voices. In addition, it is shown that Bach tends to distribute embellishment tones in alternating voices. This “turn-taking” is consistent with a single-channel model of attention where asynchronous onset cues are used to refresh the presumed auditory image for each voice.
Editor's Note
(Empirical Musicology Review, 2007-10) Butler, David

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