OSU Navigation Bar

The Ohio State University University Libraries Knowledge Bank

The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate

Please use this identifier to cite or link to this item: http://hdl.handle.net/1811/34103

Show simple item record

Files Size Format View Description
EMR000046a-Schutz-etal_revised.pdf 83.91Kb PDF View/Open Revised (full-text available)
EMR000046a-Schutz-etal.pdf 189.9Kb PDF View/Open Superseded (suppressed from view)

dc.creator Schutz, Michael
dc.creator Huron, David
dc.creator Keeton, Kristopher
dc.creator Loewer, Gred
dc.date.accessioned 2008-09-04T20:57:31Z
dc.date.available 2008-09-04T20:57:31Z
dc.date.issued 2008-07
dc.identifier.citation Empirical Musicology Review, v3 n3 (July 2008), 126-135 en_US
dc.identifier.issn 1559-5749
dc.identifier.other EMR000046a
dc.identifier.uri http://hdl.handle.net/1811/34103
dc.description.abstract In many ways, the structure of music resembles that of language, including the acoustic cues used to communicate emotion. In speech, sadness is imparted through a combination of low fundamental frequency, dark timbre, and a slow rate of articulation. As the acoustic properties of the xylophone are not conducive to mimicking these cues, it seems to follow that composers would avoid attempts to write “sad” music for it. We investigated this idea by comparing the repertoire of the xylophone with that of the marimba – a similar instrument whose acoustic structure permits a greater variety of timbres, pitch heights, and tone durations. An analysis of repertoire drawn from the Percussive Arts Society database of recital programs reveals that 60% of the tonal marimba examples surveyed were written in minor (nominally “sad”) keys. In contrast, a parallel analysis of xylophone literature found minor keys used in only 6% of the examples surveyed. Further investigation revealed that the only examples of minor-key xylophone compositions included in this survey are in fact typically performed on the marimba. The avoidance of minor-key works on xylophone by both composers and performers is consistent with the idea that instruments restricted to producing tones with short durations, bright timbres, and high pitch heights are unable to mimic the speech cues used to convey sadness and/or depression. en_US
dc.language.iso en en_US
dc.publisher Empirical Musicology Review en_US
dc.subject music en_US
dc.subject speech prosody en_US
dc.subject emotion en_US
dc.subject modality en_US
dc.subject xylophone en_US
dc.title The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate en_US
dc.type Article en_US