Commentary on "The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate" by Michael Schutz, David Huron, Kristopher Keeton, & Greg Loewer

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

dc.creator	Eitan, Zohar
dc.date.accessioned	2008-09-05T12:10:04Z
dc.date.available	2008-09-05T12:10:04Z
dc.date.issued	2008-07
dc.identifier.citation	Empirical Musicology Review, v3 n3 (July 2008), 136-139	en_US
dc.identifier.issn	1559-5749
dc.identifier.other	EMR000046b
dc.identifier.uri	https://doi.org/10.18061/1811/34104
dc.identifier.uri	http://hdl.handle.net/1811/34104
dc.description.abstract	In 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.iso	en	en_US
dc.publisher	Empirical Musicology Review	en_US
dc.subject	Timbre	en_US
dc.subject	Acoustic	en_US
dc.subject	Valence	en_US
dc.subject	Affect	en_US
dc.subject	Xylophone	en_US
dc.title	Commentary on "The Happy Xylophone: Acoustics Affordances Restrict An Emotional Palate" by Michael Schutz, David Huron, Kristopher Keeton, & Greg Loewer	en_US
dc.type	Article	en_US