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Please use this identifier to cite or link to this item: https://doi.org/10.18061/1811/47561

dc.creatorEitan, Zohar
dc.date.accessioned2011-01-14T16:01:31Z
dc.date.available2011-01-14T16:01:31Z
dc.date.issued2010-07
dc.identifier.citationEmpirical Musicology Review, v5 n3 (July 2010), pp 108-111en_US
dc.identifier.issn1559-5749
dc.identifier.otherEMR000088b
dc.identifier.urihttps://doi.org/10.18061/1811/47561
dc.identifier.urihttp://hdl.handle.net/1811/47561
dc.description.abstractAmmirante and Thompson’s intriguing article aims to enhance the ecological validity of their previous findings (Ammirante, Thompson, & Russo, in press) by using music-like melodic stimuli, rather than random pitch sequences. In line with this aim, I will briefly discuss three issues that may be taken into account in relating the motion-like qualities of melody to music and music-related behavior (finger tapping). First, I suggest how the authors’ hypotheses may be examined within a context in which tapping is affected by expectancies for a specific melodic continuation. Second, I discuss how timing and velocity changes associated with melodic distance and contour may give rise to a prototypical joint accent structure, integrating melodic, agogic and dynamic accent. Finally, I note a possible confound of melodic direction and tonality in Ammirante and Thompson’s stimuli, and suggest ways to examine the effects of these two dimensions separately.en_US
dc.language.isoenen_US
dc.publisherEmpirical Musicology Reviewen_US
dc.titleReaction, Anticipation and Accent in a Gravitational Pitch Space: Commentary on Ammirante and Thompsonen_US
dc.typeArticleen_US


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