Pub Date : 2019-11-26DOI: 10.18061/emr.v14i1-2.6376
M. Susino, Emery Schubert
This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop stimuli were perceived as expressing more negative emotions than pop stimuli. Lyrics were recognized above chance in both heavy metal and hip hop, suggesting that the negative emotion bias was not a result of misunderstanding the lyrics. The Stereotype Theory of Emotion in Music (STEM) explains the findings in terms of an emotion filter which is activated to simplify emotion perception processing. The conclusions provide a novel way of understanding the cultural and social contribution of emotion in music.
{"title":"Negative Emotion Responses to Heavy-Metal and Hip-Hop Music with Positive Lyrics","authors":"M. Susino, Emery Schubert","doi":"10.18061/emr.v14i1-2.6376","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.6376","url":null,"abstract":"This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop stimuli were perceived as expressing more negative emotions than pop stimuli. Lyrics were recognized above chance in both heavy metal and hip hop, suggesting that the negative emotion bias was not a result of misunderstanding the lyrics. The Stereotype Theory of Emotion in Music (STEM) explains the findings in terms of an emotion filter which is activated to simplify emotion perception processing. The conclusions provide a novel way of understanding the cultural and social contribution of emotion in music.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"2-15"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44078369","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 : 2019-11-26DOI: 10.18061/emr.v14i1-2.6986
D. Temperley
I define a second-position syncopation as one involving a long note or accent on the second quarter of a half-note or quarter-note unit. I present a corpus analysis of second-position syncopation in 19th-century European and American vocal music. I argue that the analysis of syncopation requires consideration of other musical features besides note-onset patterns, including pitch contour, duration, and text-setting. The corpus analysis reveals that second-position syncopation was common in English, Scottish, Euro-American, and African-American vocal music, but rare in French, German, and Italian vocal music. This suggests that the prevalence of such syncopations in ragtime and later popular music was at least partly due to British influence.
{"title":"Second-Position Syncopation in European and American Vocal Music","authors":"D. Temperley","doi":"10.18061/emr.v14i1-2.6986","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.6986","url":null,"abstract":"I define a second-position syncopation as one involving a long note or accent on the second quarter of a half-note or quarter-note unit. I present a corpus analysis of second-position syncopation in 19th-century European and American vocal music. I argue that the analysis of syncopation requires consideration of other musical features besides note-onset patterns, including pitch contour, duration, and text-setting. The corpus analysis reveals that second-position syncopation was common in English, Scottish, Euro-American, and African-American vocal music, but rare in French, German, and Italian vocal music. This suggests that the prevalence of such syncopations in ragtime and later popular music was at least partly due to British influence.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"66-80"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47027219","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 : 2019-11-26DOI: 10.18061/emr.v14i1-2.6689
Tilo Hähnel, K. Martensen
We linked an analysis of vocal vibratos in early recordings with Edison's dismissive attitude towards singers' tremolos in the same recordings. We conclude that there are at least two different factors contributing to Edison's concept of tremolo, which include a) technical limitations and artefacts related to the recording process, and b) aesthetic judgements based on his taste for a good singing voice, but which are not necessarily related to the vibrato as such. In some cases, his comments on the tremolo even contradict the vibratos found in the recordings. Yet, Edison's concept of tremolo was as ambiguous as it was influential, for it was the tremolo on which Edison frequently based his decision to employ singers for commercial recordings. Since many of today's vocal artists still view early recordings as the gold standard of interpretation, we should consider the possibility that early recordings are by no means a representative sample of the artists of that time, but rather a selection due to the constraints of the technology at that time.
{"title":"How Thomas A. Edison shaped today's singing ideal: Tracking his ambiguous concept of tremolo by analysing archival documents and sound recordings","authors":"Tilo Hähnel, K. Martensen","doi":"10.18061/emr.v14i1-2.6689","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.6689","url":null,"abstract":"We linked an analysis of vocal vibratos in early recordings with Edison's dismissive attitude towards singers' tremolos in the same recordings. We conclude that there are at least two different factors contributing to Edison's concept of tremolo, which include a) technical limitations and artefacts related to the recording process, and b) aesthetic judgements based on his taste for a good singing voice, but which are not necessarily related to the vibrato as such. In some cases, his comments on the tremolo even contradict the vibratos found in the recordings. Yet, Edison's concept of tremolo was as ambiguous as it was influential, for it was the tremolo on which Edison frequently based his decision to employ singers for commercial recordings. Since many of today's vocal artists still view early recordings as the gold standard of interpretation, we should consider the possibility that early recordings are by no means a representative sample of the artists of that time, but rather a selection due to the constraints of the technology at that time.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"22-49"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48788698","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 : 2019-11-26DOI: 10.18061/emr.v14i1-2.5100
M. Spitzer
This commentary offers a critique of the idea that nostalgia can be conveyed by a single chord – a major 7 th . The commentary questions the constancy of emotion conveyed by a single chord in its different manifestations, and the extent to which it can afford perception of a complex emotion such as nostalgia.
{"title":"Commentary on Lahdelma and Eerola","authors":"M. Spitzer","doi":"10.18061/emr.v14i1-2.5100","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.5100","url":null,"abstract":"This commentary offers a critique of the idea that nostalgia can be conveyed by a single chord – a major 7 th . The commentary questions the constancy of emotion conveyed by a single chord in its different manifestations, and the extent to which it can afford perception of a complex emotion such as nostalgia.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"87-88"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46849171","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 : 2019-11-26DOI: 10.18061/emr.v14i1-2.6659
Manuel Anglada-Tort
In this commentary, I first discuss the strengths of the target paper and provide suggestions for future research. I proceed to point out an important limitation of the target study as well as contribute considerations relevant to measuring stereotypes in music. Finally, I present a novel theoretical account to explain music stereotyping, namely, the representativeness heuristic (Tversky & Kahneman, 1974), which I discuss within the broader framework of the behavioral economics of music.
{"title":"Measuring Stereotypes in Music: A Commentary on Susino and Schubert (2019)","authors":"Manuel Anglada-Tort","doi":"10.18061/emr.v14i1-2.6659","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.6659","url":null,"abstract":"In this commentary, I first discuss the strengths of the target paper and provide suggestions for future research. I proceed to point out an important limitation of the target study as well as contribute considerations relevant to measuring stereotypes in music. Finally, I present a novel theoretical account to explain music stereotyping, namely, the representativeness heuristic (Tversky & Kahneman, 1974), which I discuss within the broader framework of the behavioral economics of music.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"16-21"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43688184","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 : 2019-11-26DOI: 10.18061/emr.v14i1-2.7098
Nathaniel Condit-Schultz
In the article Second-Position Syncopation in European and American Vocal Music , David Temperley presents an empirical, socio-cultural survey of syncopation in 19th-century Western music. He espouses the following novel ideas about operational definitions of syncopation: 1) that syncopations on the second position of a duple hierarchy are musically, and culturally, distinct from fourth-position syncopations; 2) that more detailed operational definitions of syncopation, what Temperley calls "acute" syncopations, are needed to properly understand syncopation. Following up on Temperley's work, I apply his definitions of syncopation to a corpus of more recent Anglo-American popular music (Gauvin, Condit-Schultz, & Arthur 2017). I discuss how Temperley's definitions must be adapted and expanded to fit this different, more diverse, dataset, proposing several new syncopation definitions of my own. I also discuss some statistical assumptions that ought to be better addressed in future work, and speculate on how inconsistencies of music notation might hinder historical studies like Temperley's.
{"title":"Expanding and Contracting Definitions of Syncopation: Commentary on Temperley 2019","authors":"Nathaniel Condit-Schultz","doi":"10.18061/emr.v14i1-2.7098","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.7098","url":null,"abstract":"In the article Second-Position Syncopation in European and American Vocal Music , David Temperley presents an empirical, socio-cultural survey of syncopation in 19th-century Western music. He espouses the following novel ideas about operational definitions of syncopation: 1) that syncopations on the second position of a duple hierarchy are musically, and culturally, distinct from fourth-position syncopations; 2) that more detailed operational definitions of syncopation, what Temperley calls \"acute\" syncopations, are needed to properly understand syncopation. Following up on Temperley's work, I apply his definitions of syncopation to a corpus of more recent Anglo-American popular music (Gauvin, Condit-Schultz, & Arthur 2017). I discuss how Temperley's definitions must be adapted and expanded to fit this different, more diverse, dataset, proposing several new syncopation definitions of my own. I also discuss some statistical assumptions that ought to be better addressed in future work, and speculate on how inconsistencies of music notation might hinder historical studies like Temperley's.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"81-86"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46491046","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 : 2019-11-26DOI: 10.18061/emr.v14i1-2.5502
John Napier
In this paper, I investigate structural proportions in improvised Hindustani (North Indian) vocal music. 235 examples of two types of ālāp were examined: 175 in the genre of khayāl , 60 in the genre of dhrupad . Both studio recordings and recordings of concerts were used. Three sets of proportions were investigated: the climactic arrival at the upper tonic as a proportion of the time till a point of structural change that is made explicit through rhythmic intensification (C:R), the first point as a proportion of the whole (C:W), and point of rhythmic intensification as a proportion of the whole (R:W). Average proportions for each genre, and the degree of consistency-flexibility within each genre were measured. The results show that proportions may vary between genres, but that flexibility-consistency does not. The data obtained were also used to investigate proportions and consistency-flexibility amongst singers of similar stylistic training, across individual singers, and across different performances by the same singer. The conclusions are followed by suggestions for a further, emic-driven examination of proportionality.
{"title":"Structure and Proportion in Hindustani Ālāp","authors":"John Napier","doi":"10.18061/emr.v14i1-2.5502","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.5502","url":null,"abstract":"In this paper, I investigate structural proportions in improvised Hindustani (North Indian) vocal music. 235 examples of two types of ālāp were examined: 175 in the genre of khayāl , 60 in the genre of dhrupad . Both studio recordings and recordings of concerts were used. Three sets of proportions were investigated: the climactic arrival at the upper tonic as a proportion of the time till a point of structural change that is made explicit through rhythmic intensification (C:R), the first point as a proportion of the whole (C:W), and point of rhythmic intensification as a proportion of the whole (R:W). Average proportions for each genre, and the degree of consistency-flexibility within each genre were measured. The results show that proportions may vary between genres, but that flexibility-consistency does not. The data obtained were also used to investigate proportions and consistency-flexibility amongst singers of similar stylistic training, across individual singers, and across different performances by the same singer. The conclusions are followed by suggestions for a further, emic-driven examination of proportionality.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"14 1","pages":"53-65"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42289748","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 : 2019-11-26DOI: 10.18061/emr.v14i1-2.7118
D. Shanahan
This commentary discusses and contextualizes Hahnel and Martensen's analysis of Edison's recordings and correspondence, situating their study within some of the work done on the diffusion of innovations, and some other work on the history of recording. Their findings–that the mechanical limitations of recording possibly contributed to Edison's distaste for vocal vibrato–is mirrored in much of the work on early instrumental recordings, but whereas the effect for instrumental recordings was an increased vibrato, the solution for vocal recordings was the opposite.
{"title":"The Influence Machine: A Commentary on Hähnel and Martensen (2019)","authors":"D. Shanahan","doi":"10.18061/emr.v14i1-2.7118","DOIUrl":"https://doi.org/10.18061/emr.v14i1-2.7118","url":null,"abstract":"This commentary discusses and contextualizes Hahnel and Martensen's analysis of Edison's recordings and correspondence, situating their study within some of the work done on the diffusion of innovations, and some other work on the history of recording. Their findings–that the mechanical limitations of recording possibly contributed to Edison's distaste for vocal vibrato–is mirrored in much of the work on early instrumental recordings, but whereas the effect for instrumental recordings was an increased vibrato, the solution for vocal recordings was the opposite.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":"42 1","pages":"50-52"},"PeriodicalIF":0.0,"publicationDate":"2019-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67665988","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 : 2019-04-18DOI: 10.18061/EMR.V13I3-4.6627
Kathrin Schlemmer
This paper is a brief commentary on the paper "How stable is pitch labeling accuracy in absolute pitch possessors" by W. Gruhn, R. Ristmägi, P. Schneider, A. d'Souza, and K. Kiilu. The original paper presents evidence for the influence of timbre on the pitch labeling accuracy of absolute pitch (AP) possessors. The presented data result from a solid methodology and show a clear pitch labeling accuracy drop from instrumental timbres to sinusoidal tones, with manipulated sounds being in the middle. The commentary underlines the view that the presented results are compatible with a memory perspective on AP and can be interpreted as evidence for the influence of training on the development of AP.
{"title":"Commentary on \"How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors?\" by W. Gruhn, R. Ristmägi, P. Schneider, A. d'Souza, & K. Kiilu","authors":"Kathrin Schlemmer","doi":"10.18061/EMR.V13I3-4.6627","DOIUrl":"https://doi.org/10.18061/EMR.V13I3-4.6627","url":null,"abstract":"This paper is a brief commentary on the paper \"How stable is pitch labeling accuracy in absolute pitch possessors\" by W. Gruhn, R. Ristmägi, P. Schneider, A. d'Souza, and K. Kiilu. The original paper presents evidence for the influence of timbre on the pitch labeling accuracy of absolute pitch (AP) possessors. The presented data result from a solid methodology and show a clear pitch labeling accuracy drop from instrumental timbres to sinusoidal tones, with manipulated sounds being in the middle. The commentary underlines the view that the presented results are compatible with a memory perspective on AP and can be interpreted as evidence for the influence of training on the development of AP.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45780883","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 : 2019-04-18DOI: 10.18061/EMR.V13I3-4.6113
Ann-Kristin Herget
This commentary addresses the paper by Kock and Louven about the power of sound design in a moving picture. Some further ideas regarding the theoretical context with suggestions on future methodological considerations are given. Special emphasis on the relevance of the research approach concludes the commentary.
{"title":"Commentary on: The Power of Sound Design in a Moving Picture by Kock and Louven","authors":"Ann-Kristin Herget","doi":"10.18061/EMR.V13I3-4.6113","DOIUrl":"https://doi.org/10.18061/EMR.V13I3-4.6113","url":null,"abstract":"This commentary addresses the paper by Kock and Louven about the power of sound design in a moving picture. Some further ideas regarding the theoretical context with suggestions on future methodological considerations are given. Special emphasis on the relevance of the research approach concludes the commentary.","PeriodicalId":44128,"journal":{"name":"Empirical Musicology Review","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47411964","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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