Abstract

An analysis of dynamic markings in 24 paired preludes in major and minor keys shows that the minor mode is associated with a generally lower dynamic level than the major mode. The results are consistent with observations in speech prosody, where sad or depressed speakers show reduced acoustic energy compared with normal or happy speakers.

Abstract

In his most recent contribution to an important and well-framed series of papers on auditory grouping and the perception of polyphonic music, David Huron seeks further evidence for his working hypothesis that J.S. Bach controls the employment of perfect consonances by desynchronizing their onsets, thereby inhibiting the perceptual fusion of polyphonic voices. However the more novel contribution of the present study would seem to be its demonstration that Bach also regulates the employment of dissonant tones by consistently desynchronizing their onsets. This finding provides the first concrete evidence for Wright and Bregman's otherwise untested hypothesis that the control and salience of dissonance in polyphonic music are closely related to principles of auditory stream segregation (Wright, 1986; Wright & Bregman, 1987).

Abstract

While in an earlier commentary (Honing & Ladinig, 2008) we stressed the potential of Web-delivered experiments for music perception research, the ongoing discussion on Web-based versus lab-based studies seems to circle around issues of method and control (Mehler, 1999; Kendall, 2008). We agree with the importance of these issues from a methodological point of view. However, we continue to stress that these issues are not essentially different for Web-based as compared to lab-based studies.