Pub Date : 2020-10-22DOI: 10.18061/emr.v15i1-2.7832
Jason Yust
This commentary addresses von Hippel and Huron’s (2020) work on “tonal and anti-tonal” structures in twelve-tone music and offers a possible extension making use of discrete Fourier transforms. Submitted 2020 June 9; accepted 2020 June 11. Published 2020 October 22; https://doi.org/10.18061/emr.v15i1-2.7832
{"title":"Dimensions of Atonality: A Response and Extension of von Hippel and Huron (2020)","authors":"Jason Yust","doi":"10.18061/emr.v15i1-2.7832","DOIUrl":"https://doi.org/10.18061/emr.v15i1-2.7832","url":null,"abstract":"This commentary addresses von Hippel and Huron’s (2020) work on “tonal and anti-tonal” structures in twelve-tone music and offers a possible extension making use of discrete Fourier transforms. Submitted 2020 June 9; accepted 2020 June 11. Published 2020 October 22; https://doi.org/10.18061/emr.v15i1-2.7832","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"15 1","pages":"119"},"PeriodicalIF":0.0,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47006095","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 : 2020-07-06DOI: 10.18061/emr.v14i3-4.7568
Jan Miyake
This contribution is a brief commentary on the paper "Hypermetrical Irregularity in Sonata Form: A Corpus Study" by Jonathan De Souza and David Lokan. The original paper explores the hypothesis that in a sonata form, the development is more hypermetrically stable than the exposition. The published data support the hypothesis. The commentary suggests other paths for discussion and further tweaks to the study that may better show how data support or contradict De Souza and Lokan's intuitions.
这篇文章是对Jonathan De Souza和David Lokan的论文《奏鸣曲曲式中的超韵律不规则性:语料库研究》的简短评论。原论文探讨了一个假设，即在奏鸣曲形式中，发展比阐述更具有超节拍稳定性。已发表的数据支持这一假设。评论提出了其他的讨论路径，并进一步调整研究，以更好地显示数据是如何支持或反对De Souza和Lokan的直觉。
{"title":"Commentary on De Souza and Lokan (2019)","authors":"Jan Miyake","doi":"10.18061/emr.v14i3-4.7568","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.7568","url":null,"abstract":"This contribution is a brief commentary on the paper \"Hypermetrical Irregularity in Sonata Form: A Corpus Study\" by Jonathan De Souza and David Lokan. The original paper explores the hypothesis that in a sonata form, the development is more hypermetrically stable than the exposition. The published data support the hypothesis. The commentary suggests other paths for discussion and further tweaks to the study that may better show how data support or contradict De Souza and Lokan's intuitions.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"144-145"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42461274","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 : 2020-07-06DOI: 10.18061/emr.v14i3-4.7003
A. Gustar
This paper investigates the processes leading to musical fame or obscurity, whether for composers, performers, or works themselves. It starts from the observation that the patterns of success, across many historical music datasets, follow a similar mathematical relationship known as a power law, often with an exponent approximately equal to two. It presents several simple models which can produce power law distributions. An examination of these models' transience characteristics suggests parallels with some historical music examples, giving clues to the ways that success and obscurity might emerge in practice and the extent to which success might be influenced by inherent musical quality. These models can be seen as manifestations of a more fundamental process resulting from the law of maximum entropy, subject to a constraint on the average value of the logarithm of the success measure. This implies that musical success is a multiplicative quality, and suggests that musical markets operate to strike a balance between familiarity (socio-cultural importance) and novelty (individual importance). The common power law exponent of two is seen to emerge as a consequence of the tendency for musical activity to be spread evenly across the log-success bands.
{"title":"Fame, Obscurity and Power Laws in Music History","authors":"A. Gustar","doi":"10.18061/emr.v14i3-4.7003","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.7003","url":null,"abstract":"This paper investigates the processes leading to musical fame or obscurity, whether for composers, performers, or works themselves. It starts from the observation that the patterns of success, across many historical music datasets, follow a similar mathematical relationship known as a power law, often with an exponent approximately equal to two. It presents several simple models which can produce power law distributions. An examination of these models' transience characteristics suggests parallels with some historical music examples, giving clues to the ways that success and obscurity might emerge in practice and the extent to which success might be influenced by inherent musical quality. These models can be seen as manifestations of a more fundamental process resulting from the law of maximum entropy, subject to a constraint on the average value of the logarithm of the success measure. This implies that musical success is a multiplicative quality, and suggests that musical markets operate to strike a balance between familiarity (socio-cultural importance) and novelty (individual importance). The common power law exponent of two is seen to emerge as a consequence of the tendency for musical activity to be spread evenly across the log-success bands.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42637217","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 : 2020-07-06DOI: 10.18061/emr.v14i3-4.7657
Daniel Müllensiefen
This short commentary on the target paper by "A cluster analysis of harmony in the McGill Billboard" by Shaffer et al. starts with observing that not all harmonic progressions that are theoretically possible are equally common. Instead, some progressions are more popular than others in popular. In fact, certain harmonic progressions are closely associated with specific styles and sub-genres and it is the aim of the target paper to provide a meaningful classification system for harmonic progression. The commentary identifies several strengths of the target paper, including a nice balance between rigorous empirical work and providing a context and interpretations that are musicologically well-informed. In its critique the commentary points to the limitations of only using harmonic bigrams (i.e. the transitions between two chords) as the empirical data and the missing link to related literature on harmonic modelling in the music information retrieval community.
{"title":"Commentary on Shaffer et al.: A cluster analysis of harmony in the McGill Billboard dataset","authors":"Daniel Müllensiefen","doi":"10.18061/emr.v14i3-4.7657","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.7657","url":null,"abstract":"This short commentary on the target paper by \"A cluster analysis of harmony in the McGill Billboard\" by Shaffer et al. starts with observing that not all harmonic progressions that are theoretically possible are equally common. Instead, some progressions are more popular than others in popular. In fact, certain harmonic progressions are closely associated with specific styles and sub-genres and it is the aim of the target paper to provide a meaningful classification system for harmonic progression. The commentary identifies several strengths of the target paper, including a nice balance between rigorous empirical work and providing a context and interpretations that are musicologically well-informed. In its critique the commentary points to the limitations of only using harmonic bigrams (i.e. the transitions between two chords) as the empirical data and the missing link to related literature on harmonic modelling in the music information retrieval community.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"163-166"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42973551","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 : 2020-07-06DOI: 10.18061/emr.v14i3-4.7571
David Clampitt
This is a commentary accompanying Rabinovitch (2019), situating the research within some previous work on scale theory.
这是Rabinovitch（2019）的一篇评论，将这项研究置于之前关于规模理论的一些工作中。
{"title":"Commentary on Gilad Rabinovitch's \"Unplayed Galant Melodies, the Ubiquity of the Rarest Interval, and the Heyday of the Major Mode.\"","authors":"David Clampitt","doi":"10.18061/emr.v14i3-4.7571","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.7571","url":null,"abstract":"This is a commentary accompanying Rabinovitch (2019), situating the research within some previous work on scale theory.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"135-137"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46258702","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 : 2020-07-06DOI: 10.18061/emr.v14i3-4.6906
Jonathan De Souza, David Lokan
In sonata form, development sections are characterized by tonal, textural, and phrase-structural instability. But are these instabilities counterbalanced by regularity in other musical domains? Are any syntactic layers more consistent in developments, relative to expositions or recapitulations? This corpus study examined hypermeter in expositions and developments from eighteenth- and nineteenth-century symphonic sonata movements. It analyzed both hypermetrical shifts (where a hypermeasure's duration differs from that of the preceding group) and hypermetrical deviations (where a hypermeasure departs from the four-measure norm). Developments had significantly less hypermetrical irregularity than expositions. This difference between formal sections was observed with all composers in the corpus, though they used varied amounts of hypermetrical regularity overall. These results, which are likely related to sequence blocks in the developmental core, suggest that hypermetrical grouping might serve a stabilizing function in sonata developments.
{"title":"Hypermetrical Irregularity in Sonata Form: A Corpus Study","authors":"Jonathan De Souza, David Lokan","doi":"10.18061/emr.v14i3-4.6906","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.6906","url":null,"abstract":"In sonata form, development sections are characterized by tonal, textural, and phrase-structural instability. But are these instabilities counterbalanced by regularity in other musical domains? Are any syntactic layers more consistent in developments, relative to expositions or recapitulations? This corpus study examined hypermeter in expositions and developments from eighteenth- and nineteenth-century symphonic sonata movements. It analyzed both hypermetrical shifts (where a hypermeasure's duration differs from that of the preceding group) and hypermetrical deviations (where a hypermeasure departs from the four-measure norm). Developments had significantly less hypermetrical irregularity than expositions. This difference between formal sections was observed with all composers in the corpus, though they used varied amounts of hypermetrical regularity overall. These results, which are likely related to sequence blocks in the developmental core, suggest that hypermetrical grouping might serve a stabilizing function in sonata developments.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"138-143"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47979605","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 : 2020-07-06DOI: 10.18061/emr.v14i3-4.6070
Gilad Rabinovitch
This article examines in a preliminary fashion the potential connections between the usage of Gjerdingen's (1988, 2007) skeletal galant schemata, the heyday of the major mode during the period 1750-1799 (Albrecht & Huron, 2014; Horn & Huron, 2015), and the rare intervals of the diatonic set (Browne, 1981). I discuss the relations between the rarity of the tritone and semitone in the diatonic template and in musical usage (Huron 2006, 2008; David Temperley, personal communication, 2017). I hypothesize that the skeletal usage of schemata emphasizes rare intervals (tritone and semitone) respective to their common counterparts. Though this is predominantly an armchair, speculative inquiry, a preliminary pilot analysis of a small expert-annotated corpus from Gjerdingen (2007) provides tentative support for the hypothesis that the skeletal usage of schemata overemphasizes vertical tritones, but not melodic semitones. The prevalence of skeletal tritones in the schemata abstracted by Gjerdingen suggests that the process of abstraction is associated with finding unambiguous cues for a local tonal context. While the present article relies on Gjerdingen's expert analytical annotations of a small corpus and extraction of a contrapuntal skeleton, I conclude by offering hypotheses for future testing regarding the increased prevalence and salience of tritones on the musical surface in the period 1750-1799, a subset of common-practice tonality.
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Pub Date : 2020-07-06DOI: 10.18061/emr.v14i3-4.5576
Kris Shaffer, Esther Vasiete, Brandon Jacquez, A. Davis, D. Escalante, Calvin Hicks, Joshua McCann, Camille Noufi, Paul Salminen
We set out to perform a cluster analysis of harmonic structures (specifically, chord-to-chord transitions) in the McGill Billboard dataset, to determine whether there is evidence of multiple harmonic grammars and practices in the corpus, and if so, what the optimal division of songs, according to those harmonic grammars, is. We define optimal as providing meaningful, specific information about the harmonic practices of songs in the cluster, but being general enough to be used as a guide to songwriting and predictive listening. We test two hypotheses in our cluster analysis — first that 5–9 clusters would be optimal, based on the work of Walter Everett (2004), and second that 15 clusters would be optimal, based on a set of user-generated genre tags reported by Hendrik Schreiber (2015). We subjected the harmonic structures for each song in the corpus to a K-means cluster analysis. We conclude that the optimal clustering solution is likely to be within the 5–8 cluster range. We also propose that a map of cluster types emerging as the number of clusters increases from one to eight constitutes a greater aid to our understanding of how various harmonic practices, styles, and sub-styles comprise the McGill Billboard dataset.
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Pub Date : 2020-07-06DOI: 10.18061/emr.v14i3-4.7570
Bryn Hughes
This commentary focuses on Shea (2019) and its relationship to much of the literature on popular and rock music. The commentary offers some methodological considerations on the construction of corpora for this type of analysis. The commentary questions the operational definition of 'lament,' and laud's Shea's work in attempting to create a more thorough, objective definition. Ultimately, the commentary concludes that, while Shea's approach is worthwhile, a much larger corpus must be generated in order to draw meaningful conclusions from it.
{"title":"What is a \"Lament,\" Really?: A Commentary on Nicholas Shea's \"Descending Bass Schemata and Negative Emotion in Western Song\"","authors":"Bryn Hughes","doi":"10.18061/emr.v14i3-4.7570","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.7570","url":null,"abstract":"This commentary focuses on Shea (2019) and its relationship to much of the literature on popular and rock music. The commentary offers some methodological considerations on the construction of corpora for this type of analysis. The commentary questions the operational definition of 'lament,' and laud's Shea's work in attempting to create a more thorough, objective definition. Ultimately, the commentary concludes that, while Shea's approach is worthwhile, a much larger corpus must be generated in order to draw meaningful conclusions from it.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"182-185"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42422373","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 : 2020-07-06DOI: 10.18061/emr.v14i3-4.6790
Nicholas Shea
A descending bass line coordinated with sad lyrics is often described as evoking the "lament" topic—a signal to listeners that grief is being conveyed (Caplin, 2014). In human speech, a similar pattern of pitch declination occurs as air pressure is lost ('t Hart, Collier, & Cohen, 1990) which—coordinated with the premise that sad speech is lower in pitch (Lieberman & Michaels, 1962)—suggests there may be a cognitive-ecological association between descending bass lines and negative emotion more broadly. This study reexamines the relationship between descending bass lines and sadness in songs with lyrics. First, two contrasting repertoires were surveyed: 703 cantata movements by J. S. Bach and 740 popular music songs released ca. 1950–1990. Works featuring descending bass lines were identified and bass lines extracted by computationally parsing scores for bass or the lowest sounding musical line that descends incrementally by step. The corresponding lyrics were then analyzed using the Linguistic Inquiry and Word Count (Pennebaker et al., 2015a, 2015b). Results were not consistent with the hypothesis that descending bass lines are associated with a general negative affect and thus also not specifically with sadness. In a follow-up behavioral study, popular music excerpts featuring a descending bass were evaluated for the features of sad sounds (Huron, Anderson, & Shanahan, 2014) by undergraduate musicians. Here, tempo and articulation, but not interval size as anticipated, were found to be the best predictors of songs with descending bass lines.
{"title":"Descending Bass Schemata and Negative Emotion in Western Song","authors":"Nicholas Shea","doi":"10.18061/emr.v14i3-4.6790","DOIUrl":"https://doi.org/10.18061/emr.v14i3-4.6790","url":null,"abstract":"A descending bass line coordinated with sad lyrics is often described as evoking the \"lament\" topic—a signal to listeners that grief is being conveyed (Caplin, 2014). In human speech, a similar pattern of pitch declination occurs as air pressure is lost ('t Hart, Collier, & Cohen, 1990) which—coordinated with the premise that sad speech is lower in pitch (Lieberman & Michaels, 1962)—suggests there may be a cognitive-ecological association between descending bass lines and negative emotion more broadly. This study reexamines the relationship between descending bass lines and sadness in songs with lyrics. First, two contrasting repertoires were surveyed: 703 cantata movements by J. S. Bach and 740 popular music songs released ca. 1950–1990. Works featuring descending bass lines were identified and bass lines extracted by computationally parsing scores for bass or the lowest sounding musical line that descends incrementally by step. The corresponding lyrics were then analyzed using the Linguistic Inquiry and Word Count (Pennebaker et al., 2015a, 2015b). Results were not consistent with the hypothesis that descending bass lines are associated with a general negative affect and thus also not specifically with sadness. In a follow-up behavioral study, popular music excerpts featuring a descending bass were evaluated for the features of sad sounds (Huron, Anderson, & Shanahan, 2014) by undergraduate musicians. Here, tempo and articulation, but not interval size as anticipated, were found to be the best predictors of songs with descending bass lines.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"167-181"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41323026","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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