{"title":"The Prolactin Theory of Sad-Music Enjoyment is Wrong.","authors":"David Huron","doi":"10.18061/emr.v17i1.9322","DOIUrl":"https://doi.org/10.18061/emr.v17i1.9322","url":null,"abstract":"No abstract available.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44265747","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}
We examine (ir)regularity in the musical structure of 736 monophonic children's folk songs from 22 European countries, by simulating and detecting (ir)regularity with the computational model, IDyOM, and our own algorithm, Ir_Reg, which classifies melodies according to regularity of their musical structure. IDyOM offers a range of viewpoints which allow observation and prediction of various musical features. We used five viewpoints to measure the information content and entropy of musical events in songs. Analysis across the data shows absence of irregular musical structure in children's folk songs from Croatia, Serbia, Turkey, Portugal, Hungary, and Romania. Conversely, absence of regular structure in children's folk songs was found in Great Britain, Norway and Switzerland. Further analysis of (ir)regularity, by individual country, revealed the importance of patterns repeated at pitch in regular songs, and a higher occurrence of transposed repeated patterns in irregular songs. Principal component analysis (PCA) shows the salience of pitch and pitch intervals in the perception of (ir)regular structure. Neither rhythm nor contour affects the perception of regularity. Recurring pulse/meter and arch-like melodic structure were found in the majority of children's folk songs. The study shows that irregularity exists in children's folk songs, and that this genre can be complex.
{"title":"A Computational Approach to the Detection and Prediction of (Ir)Regularity in Children's Folk Songs","authors":"Lorena Mihelac, J. Povh, Geraint A. Wiggins","doi":"10.18061/emr.v16i2.8245","DOIUrl":"https://doi.org/10.18061/emr.v16i2.8245","url":null,"abstract":"We examine (ir)regularity in the musical structure of 736 monophonic children's folk songs from 22 European countries, by simulating and detecting (ir)regularity with the computational model, IDyOM, and our own algorithm, Ir_Reg, which classifies melodies according to regularity of their musical structure. IDyOM offers a range of viewpoints which allow observation and prediction of various musical features. We used five viewpoints to measure the information content and entropy of musical events in songs. Analysis across the data shows absence of irregular musical structure in children's folk songs from Croatia, Serbia, Turkey, Portugal, Hungary, and Romania. Conversely, absence of regular structure in children's folk songs was found in Great Britain, Norway and Switzerland. Further analysis of (ir)regularity, by individual country, revealed the importance of patterns repeated at pitch in regular songs, and a higher occurrence of transposed repeated patterns in irregular songs. Principal component analysis (PCA) shows the salience of pitch and pitch intervals in the perception of (ir)regular structure. Neither rhythm nor contour affects the perception of regularity. Recurring pulse/meter and arch-like melodic structure were found in the majority of children's folk songs. The study shows that irregularity exists in children's folk songs, and that this genre can be complex.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47636111","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}
Andrew Hughes' Late Medieval Liturgical Offices afforded chant scholarship more melodies than it knew what to do with. Until now, chant scholarship involving 'Big Data' usually meant comparing individual feasts to the whole corpus or looking at general trends with respect to 'word painting' or stereotyped cadences. New research presented here, using n-gram analysis, networks, and Recurrent Neural Networks (RNN) looks to the nature of the gestural components of the melodies themselves. By isolating the notes preceding, and proceeding from, the naturally occurring semitones in the medieval church modes, we find significant recurrence of particular phrases, or riffs, which we propose could have been used to help 'build modes' from the inside out. Special care needed to be brought to the question of assumed B-flats that were not given explicitly in the manuscripts represented in Hughes' work. Understanding modes not as 'scales' but as a collection of associated smaller musical gestures, has resulted in a set of recurring riffs that appear as the identifiers of their larger contexts and confirming the influence of an earlier, oral / aural culture on these late medieval chants where musical literacy was expected.
Andrew Hughes的中世纪晚期文学办公室为圣歌奖学金提供了比它所知道的更多的旋律。到目前为止，涉及“大数据”的圣歌学术通常意味着将个人盛宴与整个语料库进行比较，或者观察“单词绘画”或刻板节奏的总体趋势。这里提出的新研究，使用n-gram分析、网络和递归神经网络（RNN），着眼于旋律本身的手势成分的性质。通过分离中世纪教堂模式中自然出现的半音之前和之后的音符，我们发现特定短语或即兴段的显著重复，我们认为这些短语或即兴片段可以用来帮助从内到外“构建模式”。需要特别注意的是，假设的B平面问题在休斯作品中的手稿中没有明确给出。将模式理解为一组相关的较小的音乐手势，而不是“音阶”，导致了一组重复出现的即兴段，这些即兴段作为其较大上下文的标识符，并证实了早期口头/听觉文化对这些中世纪晚期圣歌的影响，在这些圣歌中，人们期望音乐素养。
{"title":"The Sticky Riff: Quantifying the Melodic Identities of Medieval Modes","authors":"K. Helsen, Mark Daley, Jake Schindler","doi":"10.18061/emr.v16i2.7357","DOIUrl":"https://doi.org/10.18061/emr.v16i2.7357","url":null,"abstract":"Andrew Hughes' Late Medieval Liturgical Offices afforded chant scholarship more melodies than it knew what to do with. Until now, chant scholarship involving 'Big Data' usually meant comparing individual feasts to the whole corpus or looking at general trends with respect to 'word painting' or stereotyped cadences. New research presented here, using n-gram analysis, networks, and Recurrent Neural Networks (RNN) looks to the nature of the gestural components of the melodies themselves. By isolating the notes preceding, and proceeding from, the naturally occurring semitones in the medieval church modes, we find significant recurrence of particular phrases, or riffs, which we propose could have been used to help 'build modes' from the inside out. Special care needed to be brought to the question of assumed B-flats that were not given explicitly in the manuscripts represented in Hughes' work. Understanding modes not as 'scales' but as a collection of associated smaller musical gestures, has resulted in a set of recurring riffs that appear as the identifiers of their larger contexts and confirming the influence of an earlier, oral / aural culture on these late medieval chants where musical literacy was expected.\u0000 ","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44458202","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}
This is a commentary on Zhou and Fabian's article, "Velocity and Virtuosity: An Empirical Investigation of Basic Tempo in Contemporary Performances of Two Large-scale Works of Chopin and Liszt".
这是对周和费边的文章《速度与美德：肖邦和李斯特两部大型作品当代演奏基本节奏的实证研究》的评论。
{"title":"Commentary on Zhou and Fabian (2021)","authors":"M. Farbood","doi":"10.18061/emr.v16i2.9167","DOIUrl":"https://doi.org/10.18061/emr.v16i2.9167","url":null,"abstract":"This is a commentary on Zhou and Fabian's article, \"Velocity and Virtuosity: An Empirical Investigation of Basic Tempo in Contemporary Performances of Two Large-scale Works of Chopin and Liszt\".","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43991602","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}
Theories of tonal music take for granted that all keys of the same mode (i.e., all major and all minor keys) are employed by composers in essentially the same way; however, newer analytical and cognitive research challenges this view by pointing to aspects of transpositional nonequivalence among the keys. The present study offers possibly the first systematic, data-driven investigation of correlations between the choice of absolute key and structure across a composer's body of works. By performing an extensive corpus-based analysis of music by Wolfgang Amadé Mozart (1756–91), we derive 55 prototypes, subsuming phenomena from three independent domains: dynamic-rhetoric gestures that launch orchestral works, digressions to the parallel minor in sonata-allegro movements, and the occurrences of a particular six-note motive across Mozart's complete oeuvre. Ten prototypes display a significant association with a specific key after correction for multiple comparisons, amounting to a statistically significant total. Investigation of key-related musical structure offers fresh insight into Mozart's compositional decisions and the relation between schemata and their instantiations in his works, at the same time suggesting a revised perspective on traditional key characteristics. Mozart's perfect pitch offers one possible explanation for the role of key-related structure in his works; however, we also contemplate other possible explanations.
{"title":"Key-Specific Structure in Mozart's Music: A Peek into his Creative Process?","authors":"Uri B. Rom, Saharon Rosset","doi":"10.18061/emr.v16i2.7639","DOIUrl":"https://doi.org/10.18061/emr.v16i2.7639","url":null,"abstract":"Theories of tonal music take for granted that all keys of the same mode (i.e., all major and all minor keys) are employed by composers in essentially the same way; however, newer analytical and cognitive research challenges this view by pointing to aspects of transpositional nonequivalence among the keys. The present study offers possibly the first systematic, data-driven investigation of correlations between the choice of absolute key and structure across a composer's body of works. By performing an extensive corpus-based analysis of music by Wolfgang Amadé Mozart (1756–91), we derive 55 prototypes, subsuming phenomena from three independent domains: dynamic-rhetoric gestures that launch orchestral works, digressions to the parallel minor in sonata-allegro movements, and the occurrences of a particular six-note motive across Mozart's complete oeuvre. Ten prototypes display a significant association with a specific key after correction for multiple comparisons, amounting to a statistically significant total. Investigation of key-related musical structure offers fresh insight into Mozart's compositional decisions and the relation between schemata and their instantiations in his works, at the same time suggesting a revised perspective on traditional key characteristics. Mozart's perfect pitch offers one possible explanation for the role of key-related structure in his works; however, we also contemplate other possible explanations.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47397079","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}
Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music theory. The pre-dominant (PD) encompasses the largest number of chords, varying in quality and scale degrees; unlike the tonic and dominant functions, it is primarily defined by its syntactical role, preceding the arrival of the dominant. While Western harmony textbooks consistently organize PD chords according to a regulative syntax (e.g., IV goes to ii), they differ on its rationale and are rarely explicit about the repertoire(s) on which it is based. Furthermore, while the PD is thought to be an essential element of cadential closure, the role of PDs at various formal locations is underexplored, be it in textbooks or corpus studies. To facilitate exploration of these claims for future research, we analyzed all 22 sonata-allegro movements from the Mozart piano sonatas and generated a new dataset containing every occurrence of V (including the Cad6/4), the three chords preceding each V, and their formal location.
{"title":"An Analytical Dataset of Approaches to V in Mozart","authors":"J. Brown, Daphne Tan, Michelle Lin","doi":"10.18061/emr.v16i2.8511","DOIUrl":"https://doi.org/10.18061/emr.v16i2.8511","url":null,"abstract":"Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music theory. The pre-dominant (PD) encompasses the largest number of chords, varying in quality and scale degrees; unlike the tonic and dominant functions, it is primarily defined by its syntactical role, preceding the arrival of the dominant. While Western harmony textbooks consistently organize PD chords according to a regulative syntax (e.g., IV goes to ii), they differ on its rationale and are rarely explicit about the repertoire(s) on which it is based. Furthermore, while the PD is thought to be an essential element of cadential closure, the role of PDs at various formal locations is underexplored, be it in textbooks or corpus studies. To facilitate exploration of these claims for future research, we analyzed all 22 sonata-allegro movements from the Mozart piano sonatas and generated a new dataset containing every occurrence of V (including the Cad6/4), the three chords preceding each V, and their formal location.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43421494","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}
Past research suggests that exceptional speed is a salient feature in virtuoso performance. However, this claim has not yet been tested by empirical studies. This article sets out to investigate in what ways contemporary piano virtuosos play fast in their performances and how they manifest the concept of virtuosity through tempo. It achieves these goals by analyzing a set of recordings of Chopin's First Ballade and Liszt's Sonata with a view to examining the tendency of basic tempo in the performances of two pianists who are most often considered as virtuosos of our time by music critics of English-speaking countries – Kissin and Lisitsa. The results show that they do not always play faster than other selected pianists do. Rather, they tend to play with extreme tempo at the sectional level – playing exceptionally fast in fast sections and exceptionally slow in slow ones. Their performances create dramatic contrast in expression between fast and slow sections, manifesting the concept of virtuosity in both the broader sense – dazzling the audience through broadened expressive power – as well as the narrower sense – displaying of exceptional technical skills through speed, agility and accuracy. The findings provide new, albeit preliminary, insight into the performance practice of modern piano virtuosos and how performers may manifest the concept of virtuosity in their performances.
{"title":"Velocity and Virtuosity: An Empirical Investigation of Basic Tempo in Contemporary Performances of Two Large-scale Works of Chopin and Liszt","authors":"D. Zhou, D. Fabian","doi":"10.18061/emr.v16i2.8114","DOIUrl":"https://doi.org/10.18061/emr.v16i2.8114","url":null,"abstract":"Past research suggests that exceptional speed is a salient feature in virtuoso performance. However, this claim has not yet been tested by empirical studies. This article sets out to investigate in what ways contemporary piano virtuosos play fast in their performances and how they manifest the concept of virtuosity through tempo. It achieves these goals by analyzing a set of recordings of Chopin's First Ballade and Liszt's Sonata with a view to examining the tendency of basic tempo in the performances of two pianists who are most often considered as virtuosos of our time by music critics of English-speaking countries – Kissin and Lisitsa. The results show that they do not always play faster than other selected pianists do. Rather, they tend to play with extreme tempo at the sectional level – playing exceptionally fast in fast sections and exceptionally slow in slow ones. Their performances create dramatic contrast in expression between fast and slow sections, manifesting the concept of virtuosity in both the broader sense – dazzling the audience through broadened expressive power – as well as the narrower sense – displaying of exceptional technical skills through speed, agility and accuracy. The findings provide new, albeit preliminary, insight into the performance practice of modern piano virtuosos and how performers may manifest the concept of virtuosity in their performances.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44946634","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}
Many musical instruments produce a myriad of sound colors resulting from diverse playing techniques, both traditional and extended. Such techniques include parameters that are often regularly manipulated in music, such as pitch, intensity (dynamics), articulation style, and duration. Despite the likely contribution of such timbral variations to musical experience, within-instrument timbral flexibility and its semantic consequences have not been addressed empirically. Participants rated sounds produced by the oboe and the French horn on 12 combinations of register and dynamics using the 20-dimensional timbre qualia model from Reymore and Huron (2020). Data are modeled with Exploratory Factor Analysis, partial proportional odds regressions, and random forest classifiers. Although trends between ratings and register/dynamics emerged, the results illustrate the complexity of within-instrument timbral variability. Some trends were approximately linear, others demonstrated non-linear patterns, and some timbre qualia dimensions displayed interactions between register and dynamics. While certain trends were shared between the oboe and French horn, such as an increase in sparkling/brilliant ratings with register, others seem to be unique to each instrument, such as the relationship of ratings of woody to register for the oboe or of ratings of muted/veiled to dynamics for the horn. Results demonstrate that within-instrument timbral variability based on dynamic and register is apparent to listeners and that semantic interactions among parameters can be present. The methodology established in this paper can be extended to address within-instrument timbral flexibility with respect to articulation, duration, and other sources of variation for any instrument or group of instruments.
{"title":"Variations in timbre qualia with register and dynamics in the oboe and French horn","authors":"L. Reymore","doi":"10.18061/emr.v16i2.8005","DOIUrl":"https://doi.org/10.18061/emr.v16i2.8005","url":null,"abstract":"Many musical instruments produce a myriad of sound colors resulting from diverse playing techniques, both traditional and extended. Such techniques include parameters that are often regularly manipulated in music, such as pitch, intensity (dynamics), articulation style, and duration. Despite the likely contribution of such timbral variations to musical experience, within-instrument timbral flexibility and its semantic consequences have not been addressed empirically. Participants rated sounds produced by the oboe and the French horn on 12 combinations of register and dynamics using the 20-dimensional timbre qualia model from Reymore and Huron (2020). Data are modeled with Exploratory Factor Analysis, partial proportional odds regressions, and random forest classifiers. Although trends between ratings and register/dynamics emerged, the results illustrate the complexity of within-instrument timbral variability. Some trends were approximately linear, others demonstrated non-linear patterns, and some timbre qualia dimensions displayed interactions between register and dynamics. While certain trends were shared between the oboe and French horn, such as an increase in sparkling/brilliant ratings with register, others seem to be unique to each instrument, such as the relationship of ratings of woody to register for the oboe or of ratings of muted/veiled to dynamics for the horn. Results demonstrate that within-instrument timbral variability based on dynamic and register is apparent to listeners and that semantic interactions among parameters can be present. The methodology established in this paper can be extended to address within-instrument timbral flexibility with respect to articulation, duration, and other sources of variation for any instrument or group of instruments.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41660693","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}
Traditional approaches in timbre research have often equalized sounds according to pitch, loudness, duration in order to study timbral differences across instruments. In a compact case study of the semantic qualities of the oboe and French horn, Reymore (2021) takes a different approach and considers timbral differences within musical instruments, which arise due to the covariation of timbre with the musical parameters of fundamental frequency (pitch) and playing effort (dynamic level). The study constitutes a timely contribution to a growing body of work on the covariation between timbre, pitch, and loudness. After providing a background and summary of important aspects of the target article, I elaborate on results from a recent complementary study that analyzed acoustical signal properties regarding that matter. Finally, I address three important issues in this context that appear to be worthy of future research.
{"title":"Beyond (the cave of) pitch/loudness-equalization: A Commentary on Reymore (2021)","authors":"Kai Siedenburg","doi":"10.18061/emr.v16i2.8373","DOIUrl":"https://doi.org/10.18061/emr.v16i2.8373","url":null,"abstract":"Traditional approaches in timbre research have often equalized sounds according to pitch, loudness, duration in order to study timbral differences across instruments. In a compact case study of the semantic qualities of the oboe and French horn, Reymore (2021) takes a different approach and considers timbral differences within musical instruments, which arise due to the covariation of timbre with the musical parameters of fundamental frequency (pitch) and playing effort (dynamic level). The study constitutes a timely contribution to a growing body of work on the covariation between timbre, pitch, and loudness. After providing a background and summary of important aspects of the target article, I elaborate on results from a recent complementary study that analyzed acoustical signal properties regarding that matter. Finally, I address three important issues in this context that appear to be worthy of future research.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44625287","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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