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  3. Vol. 13 No. 3-4 (2018)

Vol. 13 No. 3-4 (2018)

					View Vol. 13 No. 3-4 (2018)
DOI: https://doi.org/10.18061/emr.v13i3-4
Published: 2019-04-18

Editor's Note

  • Editor's Note

    Daniel M, Daniel Shanahan
    109
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Articles

  • How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors?

    Wilfried Gruhn, Reet Ristm, Peter Schneider, Arun D'Souza, Kristi Kiilu
    110-123
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  • The Power of Sound Design in a Moving Picture: an Empirical Study with emoTouch for iPad

    Maximilian Kock, Christoph Louven
    132-148
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Commentaries

  • Commentary on "How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors?" by W. Gruhn, R. Ristmägi, P. Schneider, A. d'Souza, & K. Kiilu

    Kathrin Bettina Schlemmer
    124-127
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  • Commentary on Gruhn et al.'s "How Stable is Pitch Labeling Accuracy in Absolute Pitch Possessors?"

    Kelly Jakubowski
    128-131
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  • Investigating Sound Design in Film: A Commentary on Kock and Louven

    Siu-Lan Tan
    149-154
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  • Commentary on: The Power of Sound Design in a Moving Picture by Kock and Louven

    Ann-Kristin Herget
    155-157
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  • A Call for Hypothesis-Driven, Multi-Level Analysis in Research on Emotional Word Painting in Music: Commentary on Sun & Cuthbert (2018)

    Niels Chr. Hansen
    158-163
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Book Review

  • Review of Karen Burland & Stephanie Pitts (editors), Coughing and Clapping: Investigating the Audience Experience. Oxford: Routledge, 2016.

    David John Baker
    164-165
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About the Journal

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.

Scope

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. 

History

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.

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Beginning with Volume 7, No 3-4 (2012), Empirical Musicology Review is published under a Creative Commons Attribution-NonCommercial license.

Empirical Musicology Review is published by The Ohio State University Libraries.

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