David Huron | Ohio State University (original) (raw)

Papers by David Huron

Journal of the Acoustical Society of America, Apr 1, 1993

Empirical Musicology Review, Oct 24, 2013

Frontiers in Psychology, Aug 5, 2015

Empirical Musicology Review, 2006

Empirical Musicology Review, 2008

... Neuroscience has begun to map the variety of pleasure-evoking channels in the brain. It is un... more ... Neuroscience has begun to map the variety of pleasure-evoking channels in the brain. It is unlikely that music evokes pleasure through just one of these channels. In the normal course of events, musical pleasures are likely to be plural pleasures. ...

Psychomusicology: Music, Mind and Brain, Sep 1, 2020

MIT Press eBooks, Oct 1, 1997

The MIT Press eBooks, 2006

The notion that some musical features can be found in a majority of cultures across the globe has... more The notion that some musical features can be found in a majority of cultures across the globe has garnered scholarly attention within the past decade [6, 29]. However, the lack of both large and diverse musical corpora has made furthering work on this topic difficult. This paper addresses this issue by testing four purported statistical tendencies in melodic organization across four substantial samples of culturally diverse music. Three corpora include musical samples of European, Native American, and Chinese folk music. The fourth, a new corpus devised specifically for the purposes of this study, is a corpus of cross-cultural folk music including material from nearly 700 sampled audio recordings collected from 44 distinct cultures. The creation of this corpus involved establishing clear guidelines on how to parse audio materials, how to define a musical “phrase”, and how to transcribe musical information (e.g. pitch and duration). While the primary purpose of this paper is to contribute to the dialogue on corpus creation techniques involving culturally diverse music, results for the testing of all four hypotheses are included. Results are consistent with a number of broad statistical tendencies in musical phrases that are evident above chance levels, and are common across the repertoires sampled. These include the tendency for small over large pitch movements, for large leaps to ascend, for musical phrases to fall in pitch, and for phrases to begin with an initial pitch rise. Limitations of our corpus creation methods and empirical tests are highlighted.

Current Musicology, Sep 1, 2013

Springer eBooks, 2018

This paper is an attempt to investigate the notions of the native speakers of the Russian languag... more This paper is an attempt to investigate the notions of the native speakers of the Russian language about such emotions as sadness, sorrow and grief on the basis of the reconstruction of the "cultural scenarios", because their lexicographic description does not meet the requirements of recognition and distinction. In the cultural scripts of these emotions the author revealed the differential parameters: the intensity, the activity of the subject and the "publicity". The most intense is grief (skorb' [in Russian]), then in descending order, sorrow and sadness (pechal' and grust' [in Russian]). From the point of view of the subject's activity in the scenario of grief a man acts as an active figure, in a scenario of sorrow-as an active figure and as a bearer of characteristic and in the scenario of sadness-as an active figure, as a bearer of the characteristic and as a carrier of the passive state. In other words, the grief is the most active emotion that requires intense mental activity from an individual. Grief is opposed to sadness and sorrow as a "public" emotion" to the "nonpublic" ones.

Computers and The Humanities, 1988

Empirical Musicology Review, 2010

Thirty-one instances of breaking voice were identified in recordings of Country songs. Song lyric... more Thirty-one instances of breaking voice were identified in recordings of Country songs. Song lyrics were rated by independent judges for grief-related content in both breaking-voice songs and matched control songs. Judges compared pairs of lyrics for target and control songs at four context sizes: entire sets of lyrics, single stanzas, isolated lines, and individual words where the breaking voice occurs. An association was found between instances of breaking voice and grief-related content for individual words but not for the larger lyrical contexts. The results are consistent with the idea that breaking voice provides an affective cue conveying, evoking or highlighting grief.