THIS is the third of the three-part volume on relationships between music and shape. The earlier issues on the themes of Pedagogy and Performance (Vol. 8, No. 1), and Motion Shapes (Vol. 8, No. 2) are complemented here by a focus on Perception and Theory. Topics addressed include cross-cultural representations of musical shapes from the UK, Japan and Papua New Guinea; the evolutionary origins of tonality as a system for the dynamic shaping of affect; and how shaping and co-shaping of 'forms of vitality' in music gives rise to aesthetic experience.
Empirical Musicology Review (EMR) aims to provide an international forum promoting the understanding of music in all of its facets. In particular, EMR aims to facilitate communication and debate between scholars engaged in systematic and observation-based music scholarship. Debate is promoted through publication of commentaries on research articles.
EMR publishes original research articles, commentaries, editorials, book reviews, interviews, letters, and data sets. Suitable topics include music history, performance, theory, education, and composition -- with an emphasis on systematic methods, such as hypothesis-testing, modeling, and controlled observation. Submissions pertaining to social, political, cultural and economic phenomena are welcome. Theoretical and speculative articles are welcome provided they contribute to the forming of empirically testable hypotheses, models or theories, or they provide critiques of methodology.
EMR was founded by David Huron and David Butler in 2004 and began publishing in January 2006. The editorial process for EMR pioneers a new "Public Peer Review" practice that is intended to encourage scholarly dialog and reward reviewers for timely and thoughtful engagement with submissions. Previous editors include David Butler, William Forde Thompson, Peter Keller, Nicola Dibben, Renee Timmers, and Daniel Shanahan. The current editors are Niels Chr. Hansen and Daniel Müllensiefen.