Pub Date : 2019-01-17DOI: 10.18061/EMR.V13I1-2.6208
L. Warrenburg, David Huron
Research suggests that person-based dispositional factors, as well as properties of the music, influence a person's musical taste. In this study, we examined the possibility that the interaction between the stressfulness of the music and a listener's capacity for handling stress contributes to that listener's musical preferences. The key prediction relating fitness to musical preference is that the stressfulness of the music should tend to reflect the person's capacity for handling stress, including his or her physical fitness. The study method made use of an online questionnaire to assess physical fitness, impulsivity and sensation-seeking tendencies, and musical preferences. To create an independent index for estimating musical stressfulness, a parallel study was conducted, where an independent group of judges assessed the stressfulness of the music identified by participants in the main study. The stressfulness of the music was predicted using the survey-based dispositional factors in two regression models, where sex, current age, education, current fitness, and age at the time of musical preference were found to predict the stressfulness of the preferred music. The results suggest that males, younger participants, people with fewer years of education, and those who are more physically fit tend to prefer more stressful music.
{"title":"Fitness and Musical Taste: Do Physically Fit Listeners Prefer More Stressful Music?","authors":"L. Warrenburg, David Huron","doi":"10.18061/EMR.V13I1-2.6208","DOIUrl":"https://doi.org/10.18061/EMR.V13I1-2.6208","url":null,"abstract":"Research suggests that person-based dispositional factors, as well as properties of the music, influence a person's musical taste. In this study, we examined the possibility that the interaction between the stressfulness of the music and a listener's capacity for handling stress contributes to that listener's musical preferences. The key prediction relating fitness to musical preference is that the stressfulness of the music should tend to reflect the person's capacity for handling stress, including his or her physical fitness. The study method made use of an online questionnaire to assess physical fitness, impulsivity and sensation-seeking tendencies, and musical preferences. To create an independent index for estimating musical stressfulness, a parallel study was conducted, where an independent group of judges assessed the stressfulness of the music identified by participants in the main study. The stressfulness of the music was predicted using the survey-based dispositional factors in two regression models, where sex, current age, education, current fitness, and age at the time of musical preference were found to predict the stressfulness of the preferred music. The results suggest that males, younger participants, people with fewer years of education, and those who are more physically fit tend to prefer more stressful music.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42731040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.18061/EMR.V13I1-2.5608
C. Trevor, David Huron
Two studies are reported testing the conjecture that certain musical sounds or musical works may emulate the punctuated sound (ha-ha-ha) of human laughter. In the first study, 25 participants were instructed to adjust the tempo and duty cycle (articulation) of simple tone sequences to produce the most laughter-like sound. The adjusted tempos were consistent across participants but slower than measures of actual human laughter. The adjusted duty cycles were comparable to those evident in human laughter. In the second study, comedic-related musical compositions (including humoresques, badineries, and Scherzos) were compared with similar-tempo works by the same composers. It is shown that humoresques contain more staccato passages. However, these detached articulations are not more likely to be isochronous as might be expected if emulating human laughter. Overall, the results provide mixed evidence consistent with the idea that composers emulate laughter when composing certain kinds of humorous passages.
{"title":"Are Humoresques Humorous? On the Similarity Between Laughter and Staccato","authors":"C. Trevor, David Huron","doi":"10.18061/EMR.V13I1-2.5608","DOIUrl":"https://doi.org/10.18061/EMR.V13I1-2.5608","url":null,"abstract":"Two studies are reported testing the conjecture that certain musical sounds or musical works may emulate the punctuated sound (ha-ha-ha) of human laughter. In the first study, 25 participants were instructed to adjust the tempo and duty cycle (articulation) of simple tone sequences to produce the most laughter-like sound. The adjusted tempos were consistent across participants but slower than measures of actual human laughter. The adjusted duty cycles were comparable to those evident in human laughter. In the second study, comedic-related musical compositions (including humoresques, badineries, and Scherzos) were compared with similar-tempo works by the same composers. It is shown that humoresques contain more staccato passages. However, these detached articulations are not more likely to be isochronous as might be expected if emulating human laughter. Overall, the results provide mixed evidence consistent with the idea that composers emulate laughter when composing certain kinds of humorous passages.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47355730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.18061/EMR.V13I1-2.6595
Martin Pfleiderer
This commentary relates to the target paper by Cutting on the microtonal analysis of pitches in the vocal lines of fifteen blues recordings. After relating Cutting's study to Jeff Todd Titon's Early Downhome Blues, some of its merits and shortcomings are discussed. Finally, it is suggested to surpass the study of an abstract blues scale with research on blues modes, including characteristic ornamentations such as glides as well as typically employed patterns that specify certain blues songs or song types.
{"title":"Commentary on Microtonal Analysis of \"Blue Notes\" and the Blues Scale by Court B. Cutting","authors":"Martin Pfleiderer","doi":"10.18061/EMR.V13I1-2.6595","DOIUrl":"https://doi.org/10.18061/EMR.V13I1-2.6595","url":null,"abstract":"This commentary relates to the target paper by Cutting on the microtonal analysis of pitches in the vocal lines of fifteen blues recordings. After relating Cutting's study to Jeff Todd Titon's Early Downhome Blues, some of its merits and shortcomings are discussed. Finally, it is suggested to surpass the study of an abstract blues scale with research on blues modes, including characteristic ornamentations such as glides as well as typically employed patterns that specify certain blues songs or song types.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47090918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.18061/EMR.V13I1-2.6640
Nicolas Ruth
No abstract available.
没有可用的摘要。
{"title":"Commentary on \"Two studies of Autonomous Sensory Meridian Response (ASMR): The Relationship between ASMR and Music-Induced Frisson\" by Alexsandra Kovacevich and David Huron","authors":"Nicolas Ruth","doi":"10.18061/EMR.V13I1-2.6640","DOIUrl":"https://doi.org/10.18061/EMR.V13I1-2.6640","url":null,"abstract":"No abstract available.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47993955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.18061/EMR.V13I1-2.6012
Alexsandra Kovacevich, David Huron
In recent years, a widely popular phenomenon has emerged as exemplified in thousands of videos available on the Internet. Referred to using the impressive sounding term "Autonomous Sensory Meridian Response" (abbreviated ASMR), followers claim that ASMR videos evoke a special "tingling" sensation that is regarded as highly pleasurable and relaxing. The popularity of this phenomenon is reflected in individual ASMR videos receiving more than 43 million views and a reddit ASMR forum with over 130,000 subscribers. Two exploratory studies are reported. In the first study, a content analysis was carried out on 30 popular ASMR videos, and compared with 30 videos employing two different control methods. In the second study, a content analysis was carried out on 3,600 comments on discussion forums and accompanying ASMR videos. The results indicate that ASMR videos typically employ a quiet, private scene, with a relaxed, friendly, and intimate actor ("ASMRtist"). Although ASMR is evoked by non-musical stimuli, the physiological responses to ASMR (skin-related tingling and goosebumps) strongly resemble the classic frisson experience—a phenomenon that has received considerable attention among music perception researchers. Careful consideration of ASMR stimuli and responses suggest that ASMR is consistent with Huron's (2006) theory of frisson.
{"title":"Two Studies of Autonomous Sensory Meridian Response (ASMR): The Relationship between ASMR and Music-Induced Frisson","authors":"Alexsandra Kovacevich, David Huron","doi":"10.18061/EMR.V13I1-2.6012","DOIUrl":"https://doi.org/10.18061/EMR.V13I1-2.6012","url":null,"abstract":"In recent years, a widely popular phenomenon has emerged as exemplified in thousands of videos available on the Internet. Referred to using the impressive sounding term \"Autonomous Sensory Meridian Response\" (abbreviated ASMR), followers claim that ASMR videos evoke a special \"tingling\" sensation that is regarded as highly pleasurable and relaxing. The popularity of this phenomenon is reflected in individual ASMR videos receiving more than 43 million views and a reddit ASMR forum with over 130,000 subscribers. Two exploratory studies are reported. In the first study, a content analysis was carried out on 30 popular ASMR videos, and compared with 30 videos employing two different control methods. In the second study, a content analysis was carried out on 3,600 comments on discussion forums and accompanying ASMR videos. The results indicate that ASMR videos typically employ a quiet, private scene, with a relaxed, friendly, and intimate actor (\"ASMRtist\"). Although ASMR is evoked by non-musical stimuli, the physiological responses to ASMR (skin-related tingling and goosebumps) strongly resemble the classic frisson experience—a phenomenon that has received considerable attention among music perception researchers. Careful consideration of ASMR stimuli and responses suggest that ASMR is consistent with Huron's (2006) theory of frisson.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41767665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.18061/EMR.V13I1-2.6547
Jörg Mühlhans
This commentary discusses and comments on the study by Trevor and Huron on the acoustical similarities between human laughter and staccato articulation in music.
本文对特雷弗和休伦关于音乐中人类笑声和断奏发音在声学上的相似性的研究进行了讨论和评论。
{"title":"Commentary on C. Trevor & D. Huron Are Humoresques Humorous? On the Similarity Between Laughter and Staccato","authors":"Jörg Mühlhans","doi":"10.18061/EMR.V13I1-2.6547","DOIUrl":"https://doi.org/10.18061/EMR.V13I1-2.6547","url":null,"abstract":"This commentary discusses and comments on the study by Trevor and Huron on the acoustical similarities between human laughter and staccato articulation in music.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46585725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.18061/EMR.V13I1-2.6387
Manuel Anglada-Tort
The target study explores whether evaluations of the same piece of music differ under two distinct listening conditions: listening to a piece described either as an improvisation or as a preexisting composition. Participants (N = 16) in the two conditions listened to the same musical piece and provided verbal evaluative judgements. The author used a grounded theory approach to analyze listeners' responses, reporting different listening experiences in the two groups. The findings provide unique insights to enable a greater understanding of the nature of the aesthetics of improvisation. In this commentary, I first discuss the strengths of the article, followed by methodological considerations and suggestions for future research. I then present a short literature review and discussion of what I consider the most relevant topic in relation to this study, namely, the effects of contextual information on subjective evaluations.
{"title":"Commentary on Canonne (2018): Listening to Improvisation","authors":"Manuel Anglada-Tort","doi":"10.18061/EMR.V13I1-2.6387","DOIUrl":"https://doi.org/10.18061/EMR.V13I1-2.6387","url":null,"abstract":"The target study explores whether evaluations of the same piece of music differ under two distinct listening conditions: listening to a piece described either as an improvisation or as a preexisting composition. Participants (N = 16) in the two conditions listened to the same musical piece and provided verbal evaluative judgements. The author used a grounded theory approach to analyze listeners' responses, reporting different listening experiences in the two groups. The findings provide unique insights to enable a greater understanding of the nature of the aesthetics of improvisation. In this commentary, I first discuss the strengths of the article, followed by methodological considerations and suggestions for future research. I then present a short literature review and discussion of what I consider the most relevant topic in relation to this study, namely, the effects of contextual information on subjective evaluations.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48102071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.18061/emr.v13i3-4.6771
N. C. Hansen
This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painting in a corpus of English-language popular and folk songs. The authors are complimented for their application of computational tools to an impressively large sample of a somewhat understudied musical genre, and for their detailed level of analysis mapping musical features to the semantic content of individual words. This work, however, suffers from a lack of a priori predictions which causes multiple comparison issues leading to a dramatic reduction in statistical power. The selection of musical features and analytical strategies also seems arbitrary at times due to the absence of motivating hypotheses. It is argued that the ethological literature on affective vocal communication in animals might offer an avenue for future hypothesis-driven research on this topic.
{"title":"A Call for Hypothesis-Driven, Multi-Level Analysis in Research on Emotional Word Painting in Music: Commentary on Sun & Cuthbert (2018)","authors":"N. C. Hansen","doi":"10.18061/emr.v13i3-4.6771","DOIUrl":"https://doi.org/10.18061/emr.v13i3-4.6771","url":null,"abstract":"This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painting in a corpus of English-language popular and folk songs. The authors are complimented for their application of computational tools to an impressively large sample of a somewhat understudied musical genre, and for their detailed level of analysis mapping musical features to the semantic content of individual words. This work, however, suffers from a lack of a priori predictions which causes multiple comparison issues leading to a dramatic reduction in statistical power. The selection of musical features and analytical strategies also seems arbitrary at times due to the absence of motivating hypotheses. It is argued that the ethological literature on affective vocal communication in animals might offer an avenue for future hypothesis-driven research on this topic.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67665958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-25DOI: 10.18061/EMR.V12I3-4.5992
Christoph Reuter
This commentary discusses the exploratory study by Chon, Huron and DeVlieger about the usage and combinations of musical instruments in orchestral works between 1700 and 2000 under the perspective of the evolution of the musical instruments in that time, their acoustical and social aspects as well as recommendations in orchestration treatises of the last 300 years.
{"title":"Commentary on \"An Exploratory Study of Western Orchestration: Patterns through History\" by S.H. Chon, D. Huron, & D. DeVlieger","authors":"Christoph Reuter","doi":"10.18061/EMR.V12I3-4.5992","DOIUrl":"https://doi.org/10.18061/EMR.V12I3-4.5992","url":null,"abstract":"This commentary discusses the exploratory study by Chon, Huron and DeVlieger about the usage and combinations of musical instruments in orchestral works between 1700 and 2000 under the perspective of the evolution of the musical instruments in that time, their acoustical and social aspects as well as recommendations in orchestration treatises of the last 300 years.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44341229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-25DOI: 10.18061/EMR.V12I3-4.4951
Rainer Polak
Human rhythm perception and sensorimotor synchronization are both constrained by temporal thresholds on several levels. The lower limit for durations that allow for entrainment at the level of metric beat subdivision has been estimated at about 100–120 ms (London, 2002; Repp, 2003). Tempos and subdivision durations reported for American jazz and East African xylophone music performance, however, suggest that the perception of shorter subdivisions within a range of 80–100 ms may well be possible. This paper musicologically analyzes and empirically measures the fastest metric subdivisions in two sets of live recordings of vernacular dance music from West Africa. In two recordings of Ewe drumming from Ghana, subdivision durations display mean values within a range of 90–100 ms for extended periods of time. Four recordings of jembe drumming from Mali feature subdivision IOIs of about 80–90 ms during their final and fastest sections. A lower limit for metric subdivision durations is hypothesized to perceptually constrain West African drumming within a threshold range of about 80–100 ms.
{"title":"The lower limit for meter in dance drumming from West Africa","authors":"Rainer Polak","doi":"10.18061/EMR.V12I3-4.4951","DOIUrl":"https://doi.org/10.18061/EMR.V12I3-4.4951","url":null,"abstract":"Human rhythm perception and sensorimotor synchronization are both constrained by temporal thresholds on several levels. The lower limit for durations that allow for entrainment at the level of metric beat subdivision has been estimated at about 100–120 ms (London, 2002; Repp, 2003). Tempos and subdivision durations reported for American jazz and East African xylophone music performance, however, suggest that the perception of shorter subdivisions within a range of 80–100 ms may well be possible. This paper musicologically analyzes and empirically measures the fastest metric subdivisions in two sets of live recordings of vernacular dance music from West Africa. In two recordings of Ewe drumming from Ghana, subdivision durations display mean values within a range of 90–100 ms for extended periods of time. Four recordings of jembe drumming from Mali feature subdivision IOIs of about 80–90 ms during their final and fastest sections. A lower limit for metric subdivision durations is hypothesized to perceptually constrain West African drumming within a threshold range of about 80–100 ms.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41528640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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