Empirical Musicology: Aims, Methods, Prospects

238 Pages·2004·2.71 MB·English

by  Eric Clarke

Empirical Musicology:
Aims, Methods, Prospects
Eric Clarke
Nicholas Cook,
Editors
OXFORD UNIVERSITY PRESS
EMPIRICAL MUSICOLOGY
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Empirical Musicology
Aims, Methods, Prospects
EDITED BY
Eric Clarke and Nicholas Cook
1
2004
1
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All rights reserved. No part of this publication may be reproduced,
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electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of Oxford University Press.
Two figures from F. Lerdahl and R. Jackendoff, A Generative Theory
of Tonal Music (Cambridge, Mass.: MIT Press, 1983), pp. 259, 260, are
reprinted with permission from MIT Press.
Figure 8 (Pitch/contour schemata recognised in early Mozart by
Robert O. Gjerdingen’s ART pour l’art neural network, p. 360) from
R. Gjerdingen, “Categorization of musical patterns by self-organizing
neuronlike networks,” Music Perception7 (1990): 339–369, is reprinted
with permission from Blackwell Publishing Ltd.
The segmentation graph of Berg, “Warm die Lufte,” bars 19–21 (p. 199),
from J. Doerksen, “Set-class salience and Forte’s theory of genera,” Music
Analysis17 (1998): 195–205, is reprinted with permission from Black-
well Publishing Ltd.
Quotations from pp. 49–54 and figure 18 (Harmonic analysis of “Yankee
Doodle,” p. 63) from D. Temperley, “An algorithm for harmonic analy-
sis,”Music Perception15 (1997): 31–68, are reprinted with permission
from the University of California Press.
Library of Congress Cataloging-in-Publication Data
Empirical musicology : aims, methods, prospects / edited by Eric Clarke
and Nicholas Cook.
p. cm.
Includes bibliographical references.
ISBN 0-19-516749-X (hardcover); ISBN 0-19-516750-3 (pbk.)
1. Musicology. 2. Empiricism. I. Clarke, Eric F. II. Cook, Nicholas, 1950–
ML3797.1.E47 2004
780'.72—dc22 2004012210
9 8 7 6 5 4 3 2 1
Printed in the United States of America
on acid-free paper
CONTENTS
CONTRIBUTORS vii
1 Introduction: What Is Empirical Musicology? 3
Nicholas Cook and Eric Clarke
2 Documenting the Musical Event: Observation, Participation, Representation 15
Jonathan P. J. Stock
3 Musical Practice and Social Structure: A Toolkit 35
Tia DeNora
4 Music as Social Behavior 57
Jane W. Davidson
5 Empirical Methods in the Study of Performance 77
Eric Clarke
6 Computational and Comparative Musicology 103
Nicholas Cook
7 Modeling Musical Structure 127
Anthony Pople
8 Analyzing Musical Sound 157
Stephen McAdams, Philippe Depalle, and Eric Clarke
9 Data Collection, Experimental Design, and Statistics in Musical Research 197
W. Luke Windsor
Index 223
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CONTRIBUTORS
Eric Clarke, Professor of Music at the University of Sheffield, has published on the
psychology of performance, the study of rhythm, and musical meaning. Recent pub-
lications have focused on motion in music, artificial modeling of expressive per-
formance, meaning in pop music by Pulp, Frank Zappa, and P. J. Harvey, and the re-
lationship between music, psychology, and cultural studies. He was Chair of the
Society for Research in Psychology of Music and Music Education from 1994 to
2000 and is on the editorial boards of Psychology of Music,Music Perception,Musicae
Scientiae,andMusic Analysis.
Nicholas Cook, Professor of Music at Royal Holloway, University of London, has
published journal articles on a wide range of musical topics from aesthetics and
analysis to psychology and pop. A Fellow of the British Academy and former Editor
of the Journal of the Royal Musical Association, his books include A Guide to Musical
Analysis;Music, Imagination, and Culture;Beethoven: Symphony No. 9;Analysis through
Composition;Analysing Musical Multimedia; and Music: A Very Short Introduction. He is
Director of the AHRB Research Centre for the History and Analysis of Musical Re-
cordings (CHARM).
Jane W. Davidson, Reader in Music at the University of Sheffield, completed M.A.
and Ph.D. degrees in Music at City University while working as an opera singer.
After jobs at Keele University and City University, she took up her current post at
Sheffield in 1995, where she lectures and researches on psychological issues related
to performance. She has published very widely on this and other topics, and was
Editor of the journal Psychology of Music from 1997 to 2001. She maintains an active
career in performance and direction, working on projects from opera to dance, and
completed an M.A. in Contemporary Dance Choreography in 2002.
Tia DeNorateaches Sociology at the University of Exeter, and has special interests
in music sociology. Her books are: Beethoven and the Construction of Genius(1995);
Music and Everyday Life(2000); and After Adorno: Rethinking Music Sociology(2003).
Philippe Depallereceived a Ph.D. degree in Acoustics from the Université du Maine,
Le Mans. He was an assistant professor from 1985 to 1988 at the École Supérieure
d’Électricité, and a researcher in the Analysis/Synthesis team at the Institut de Re-
cherche et Coordination Acoustique/Musique (IRCAM) from 1984 to 1997. He was
visiting professor at the Université de Montréal from 1997 to 1999, and since 1999
he has been Associate Professor in the Faculty of Music at McGill University, Mon-
tréal, where he chaired the Music Technology Area from 1999 to 2002. His research
interests are related to the modeling, synthesis, analysis, and processing of sound
signals for musical applications.
vii
viii Contributors
Stephen McAdams received training in music theory and composition, electronic
music, computer music, experimental psychology, neurosciences, and hearing and
speech sciences. He received his Ph.D. in Hearing and Speech Sciences in 1984 from
Stanford University. He has worked since 1981 at the Institut de Recherche et Co-
ordination Acoustique/Musique (IRCAM) where he founded the Music Perception
and Cognition team in 1984. He is currently Research Director in the Centre Na-
tional de Recherche Scientifique (CNRS) and will direct a new laboratory for re-
search in Auditory Perception and Cognition in the Cognitive Studies Department
of the Ecole Normale Supérieure in Paris. His research interests include auditory
scene analysis, timbre perception, ecological acoustics, and music cognition.
Anthony Poplewas a Professor of Music at the universities of Lancaster, Southamp-
ton and Nottingham. He was Editor of Music Analysis from 1995 to 1999 and co-
authored the extensive entry “Analysis” in the 2001 Edition of The New Grove. His
many publications include books on Berg, Messiaen, Scriabin, and Stravinsky, to-
gether with studies of works by Vaughan Williams and Tippett. His Tonalitiesproject
uses sophisticated but user-friendly computer software to engage with the analysis
of music in widely varying styles beyond common-practice tonality. He died in2003.
Jonathan P. J. Stockis Reader in music at the University of Sheffield. He is author of
three books: Musical Creativity in Twentieth-Century China, on the key folk musician
Abing (1996); World Sound Matters(1996)—a three-volume anthology of transcrip-
tions, recordings, and notes for high school teachers and pupils; and Huju: Tradi-
tional Opera in Modern Shanghai(2002). Recently published articles discuss the in-
terplay of speech tone and melody in Beijing opera, ethnomusicology and “new
musicology,” and timbral views of formal structure in Mozart’s piano concertos. He
also edits book reviews for The World of Music.
W. Luke Windsor’s research has focused on the perception and production of mu-
sical rhythm and meter, expressive and cooperative timing in piano performance,
and the analysis and perception of electroacoustic music. He is a senior lecturer in
the School of Music at the University of Leeds, where he has worked since 1998.
Prior to this he worked as a researcher in the UK and Netherlands, was involved in
course development at the University of Sheffield. He is the coeditor, with Peter De-
sain, of Rhythm Perception and Production (2000).
EMPIRICAL MUSICOLOGY