Show simple item record

Please use this identifier to cite or link to this item: https://doi.org/10.18061/1811/34104

dc.creatorEitan, Zohar
dc.date.accessioned2008-09-05T12:10:04Z
dc.date.available2008-09-05T12:10:04Z
dc.date.issued2008-07
dc.identifier.citationEmpirical Musicology Review, v3 n3 (July 2008), 136-139en_US
dc.identifier.issn1559-5749
dc.identifier.otherEMR000046b
dc.identifier.urihttps://doi.org/10.18061/1811/34104
dc.identifier.urihttp://hdl.handle.net/1811/34104
dc.description.abstractIn this commentary, I raise several issues of method and presentation and suggest a number of follow-up experiments associated with some of these issues. Broad suggestions are also made (or rather preached): the need to deal empirically with musical emotions subtler than the oft-investigated basic emotions, and the role that interactions between musical variables may play in shaping subtle musical expression, as exemplified by some well-known xylophone soli from the orchestral repertory.en_US
dc.language.isoenen_US
dc.publisherEmpirical Musicology Reviewen_US
dc.subjectTimbreen_US
dc.subjectAcousticen_US
dc.subjectValenceen_US
dc.subjectAffecten_US
dc.subjectXylophoneen_US
dc.titleCommentary on "The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate" by Michael Schutz, David Huron, Kristopher Keeton, & Greg Loeweren_US
dc.typeArticleen_US


Files in this item

Thumbnail

Items in Knowledge Bank are protected by copyright, with all rights reserved, unless otherwise indicated.

This item appears in the following Collection(s)

Show simple item record