Empirical Musicology Review: Volume 1, Number 3 (2006)

Permanent URI for this collection

https://kb.osu.edu/handle/1811/81079

Empirical Musicology Review Vol. 1, No. 3, 2006

Issue DOI: https://doi.org/10.18061/1811/81079

Editor's Note
Butler, David p. 130
Description | Full Text PDF

Eavesdropping with a Master: Leoš Janáček and the Music of Speech
Pearl, Jonathan pp. 131-165
Description | Full Text PDF

An Empirical Method for Comparing Pitch Patterns in Spoken and Musical Melodies: A Comment on J.G.S. Pearl's "Eavesdropping with a Master: Leos Janácek and the Music of Speech."
Patel, Aniruddh D. pp. 166-169
Description | Full Text PDF

Influence of Pitch Height on the Perception of Submissiveness and Threat in Musical Passages
Huron, David; Kinney, Daryl; Precoda, Kristin pp. 170-177
Description | Full Text PDF

Commentary on "The Influence of Pitch Height on the Perception of Submissiveness and Threat in Musical Passages" by David Huron, Daryl Kinney, and Kristin Precoda
Morton, Eugene S. pp. 178-179
Description | Full Text PDF

Commentary on "Calculating Sensory Dissonance: Some Discrepancies Arising from the Models of Kameoka & Kuriyagawa and Hutchinson & Knopoff" by Keith Mashinter
Vos, Joos pp. 180-181
Description | Full Text PDF

Response to David Temperley's Commentary
Thomson, William pp. 182-184
Description | Full Text PDF

Browse

Now showing 1 - 7 of 7

Commentary on "Calculating Sensory Dissonance: Some Discrepancies Arising from the Models of Kameoka & Kuriyagawa and Hutchinson & Knopoff" by Keith Mashinter
(Empirical Musicology Review, 2006-07) Vos, Joos
The commentary asserts the importance of conducting additional research on additive dissonance, and points to the need for terminological precision in discussions of sensory versus systemic (i.e. learned, context-dependent) dissonance.
Influence of Pitch Height on the Perception of Submissiveness and Threat in Musical Passages
(Empirical Musicology Review, 2006-07) Huron, David; Kinney, Daryl; Precoda, Kristin
Bolinger, Ohala, Morton and others have established that vocal pitch height is perceived to be associated with social signals of dominance and submissiveness: higher vocal pitch is associated with submissiveness, whereas lower vocal pitch is associated with social dominance. An experiment was carried out to test this relationship in the perception of non-vocal melodies. Results show a parallel situation in music: higher-pitched melodies sound more submissive (less threatening) than lower-pitched melodies.
Response to David Temperley's Commentary
(Empirical Musicology Review, 2006-07) Thomson, William
The author responds to points raised in David Temperley’s commentary, which appeared in Vol. 1, No. 2 of Empirical Musicology Review. The response includes a discussion of strengths and limitations of atemporal models of musical perception, with particular attention to presentations such as those of Carol Krumhansl and Fred Lerdahl.
Commentary on "The Influence of Pitch Height on the Perception of Submissiveness and Threat in Musical Passages" by David Huron, Daryl Kinney, and Kristin Precoda
(Empirical Musicology Review, 2006-07) Morton, Eugene S.
Increasingly, the Arts and Humanities and Science fields are finding common ground, as illustrated in Huron et al.’s fine paper. My commentary discusses the origin of the idea that pitch and motivation have an evolved relationship. Their finding that loudness and aggression are related has been little studied in animals and I suggest an explanation from the biological literature.
Editor's Note
(Empirical Musicology Review, 2006-07) Butler, David
An Empirical Method for Comparing Pitch Patterns in Spoken and Musical Melodies: A Comment on J.G.S. Pearl's "Eavesdropping with a Master: Leos Janáček and the Music of Speech."
(Empirical Musicology Review, 2006-07) Patel, Aniruddh D.
Music and speech both feature structured melodic patterns, yet these patterns are rarely compared using empirical methods. One reason for this has been a lack of tools which allow quantitative comparisons of spoken and musical pitch sequences. Recently, a new model of speech intonation perception has been proposed based on principles of pitch perception in speech. The “prosogram” model converts a sentence's fundamental frequency contour into a sequence of discrete tones and glides. This sequence is meant to represent a listener's perception of pitch in connected speech. This article briefly describes the prosogram and suggests a few ways in which it can be used to compare the structure of spoken and musical melodies.
Eavesdropping with a Master: Leoš Janáček and the Music of Speech
(Empirical Musicology Review, 2006-07) Pearl, Jonathan
The composer Leos Janácek (1854-1928) has been noted for his interest in speech melodies. Little discussion has focused however on the field methods that he used in gathering them, nor on the products themselves. Janácek spent more than three decades, transcribing thousands of what he termed nápevky mluvy [tunelets of speech] in standard musical notation. The record that remains of these efforts is impressive both for its volume and its quality, as well as for its potential to reveal aspects of the perceptual overlap between music and language. Heretofore his pioneering efforts in the study of speech prosody and music perception have neither been recognized nor acknowledged. The present study provides a background for and an overview of the transcriptions, along with comparative musicological and linguistic analyses of the materials presented. With this analysis as a starting point, I indicate promising avenues for further collaborations between linguists and musicologists, seeking an integrated theory of music and language cognition.

Browse

Recent Submissions