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Please use this identifier to cite or link to this item: https://doi.org/10.18061/1811/47562

dc.creatorFabian, Dorottya
dc.date.accessioned2011-01-14T16:08:41Z
dc.date.available2011-01-14T16:08:41Z
dc.date.issued2010-07
dc.identifier.citationEmpirical Musicology Review, v5 n3 (July 2010), pp 112-114en_US
dc.identifier.issn1559-5749
dc.identifier.otherEMR000086b
dc.identifier.urihttps://doi.org/10.18061/1811/47562
dc.identifier.urihttp://hdl.handle.net/1811/47562
dc.description.abstractLadinig and Huron’s (2010) investigation of the relationship between mode (major-minor) and dynamics in Classical and Romantic piano music indicated higher levels of dynamics for compositions from the Classical period but only in major-mode pieces. This was contrary to the expectation that minor mode pieces from the Romantic era would be louder because romantic composers may have intended to convey seriousness, passion or even aggression, rather than sadness. Although the methodology was carefully crafted to enable necessary control for a quantitative study, it also contributed to the questionable relevance of the results. It is arguable whether the chosen repertoire is typical, whether initial markings in the score have a true bearing on the dynamic characteristics of a piece and whether notated dynamics are reliable data due to historical notation conventions and later editorial practices.en_US
dc.language.isoenen_US
dc.publisherEmpirical Musicology Reviewen_US
dc.subjectdynamicsen_US
dc.subjectminor modeen_US
dc.subjecteditingen_US
dc.subjectmusic historiographyen_US
dc.subjectRomantic musicen_US
dc.titleQuantifying the Use of Dynamics in Western Keyboard Music: Lessons and Problemsen_US
dc.typeArticleen_US


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