Subject: [AUDITORY] EMR 20(1) From: Albrecht, Joshua <"Albrecht, Joshua"> Date: Mon, 15 Jun 2026 21:44:27 +0000--_000_BL0PR04MB46272B1CF1E4B1D558F5D78EE5E62BL0PR04MB4627namp_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Dear Auditory list, We are pleased to announce the publication of Empirical Musicology Review 2= 0(1)<https://emusicology.org/issue/324/info/>. The current volume presents = a number of empirical studies and commentaries, and one data report that al= together highlight the breadth of topics suitable for the journal. Gardner and Fiedler<https://emusicology.org/article/id/6678/> investigate t= he recognizability of various popular music harmonic schemata as full harmo= nic units whether presented in isolation or with accompanying melodies. In = general, they find that participants are better than chance level at recogn= izing these chord loops, regardless of the extent of their musical training= . Eitel<https://emusicology.org/article/id/6614/> engages with these findin= gs, asking to what extent self-reported musicianship levels sufficiently ca= pture a participant=92s musical perception skill and speculating about the = effect that genre markers might have in aiding or undermining participants= =92 abilities to recognize chord loops. In a detailed examination of the German Schlager genre, Thiesen<https://emu= sicology.org/article/id/6608/> conducted a content analysis of the lyrics t= o test whether there was empirical evidence consistent with the stereotypic= al assumptions about the genre as conforming to conservative social dynamic= s. While his story presents a more nuanced view of the content of the songs= , his results are consistent with his a priori hypotheses that the values o= f Schlager music have changed little over time and that described relations= hips are almost entirely heterosexual, but also that critical subtexts in t= he songs have increased. Wolthier<https://emusicology.org/article/id/6860/>= , however, questions some methodological decisions, pointing out that focus= ing on top-10 songs biases the sample toward DJ-played Partyschlager, which= makes crowd appeal a predominant value over more reflective songs that may= evidence greater diversity. He also highlights the complexity of concepts = like diversity and representation, underscoring the difficulty of operation= alizing these kinds of multi-faceted concepts. Extending earlier scholarship on the role of pre-learned patterns in jazz s= olos, Nurmi<https://emusicology.org/article/id/6605/> examines forty-two tr= anscriptions of bass solos from Paul Chambers and Ron Carter to estimate th= e extent to which these solos rely on stock patterns and licks. Nurmi found= that these sorts of pre-learned patterns were less prominent in the Chambe= rs and Carter corpus than found in earlier studies. Moreover, his findings = suggest that using overlapping patterns, allowing patterns to begin at any = note, and other methodological decisions made by other researchers may have= led to overestimation of the role of these patterns in solos. However, Nor= gaard<https://emusicology.org/article/id/6906/> points out that there may b= e significant differences in strategies between bass solos and other instru= ments. Further, he argues that short melodic patterns are indeed important = components of many musicians=92 solo strategies. Finally, in a significant contribution for Baroque corpus researchers, Roux= , Giraud, and Lev=E9<https://emusicology.org/article/id/6679/> present a da= ta report detailing their new corpus of all 38 Corelli trio sonata slow mov= ements in the Sonate da chiesa Opp. 1 and 8. With over 7,000 annotations pe= rtaining to musical elements such as texture, thematic and imitation patter= ns, and rhythmic density, this corpus provides new opportunities to explore= under-theorized and under-researched elements of musical style. Sincerely, Joshua Albrecht Niels Chr. Hansen Editors, Empirical Musicology Review Joshua Albrecht, PhD Assistant Professor of Music Theory 95 East Burlington Street, Iowa City, Iowa 52242 uiowa.edu<http://www.uiowa.edu/> [The University of Iowa Logo] --_000_BL0PR04MB46272B1CF1E4B1D558F5D78EE5E62BL0PR04MB4627namp_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable <html> <head> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3DWindows-1= 252"> <style type=3D"text/css" style=3D"display:none;"> P {margin-top:0;margin-bo= ttom:0;} </style> </head> <body dir=3D"ltr"> <div class=3D"elementToProof" style=3D"font-family: Aptos, Aptos_EmbeddedFo= nt, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; c= olor: rgb(0, 0, 0);"> Dear Auditory list,</div> <div class=3D"elementToProof" style=3D"font-family: Aptos, Aptos_EmbeddedFo= nt, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; c= olor: rgb(0, 0, 0);"> <br> </div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> We are pleased to announce the publication of <a href=3D"https://emusicolog= y.org/issue/324/info/" id=3D"OWA5e95ad4e-7f38-bfe8-0f02-991fafb2ab80" class= =3D"OWAAutoLink" title=3D"https://emusicology.org/issue/324/info/"> Empirical Musicology Review 20(1)</a>. The current volume presents a number= of empirical studies and commentaries, and one data report that altogether= highlight the breadth of topics suitable for the journal.</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> <a href=3D"https://emusicology.org/article/id/6678/" id=3D"OWAaff8e2d4-1e8b= -1330-9802-572959fcea48" class=3D"OWAAutoLink" title=3D"https://emusicology= .org/article/id/6678/">Gardner and Fiedler</a> investigate the recogni= zability of various popular music harmonic schemata as full harmonic units whether presented in isolation or with accompanying= melodies. In general, they find that participants are better than chance l= evel at recognizing these chord loops, regardless of the extent of their mu= sical training. <a href=3D"https://emusicology.org/article/id/6614/" id=3D"OWA14c14a36-4bb5= -0c7c-0beb-5d2f3df62aa4" class=3D"OWAAutoLink" title=3D"https://emusicology= .org/article/id/6614/"> Eitel</a> engages with these findings, asking to what extent self-repo= rted musicianship levels sufficiently capture a participant=92s musical per= ception skill and speculating about the effect that genre markers might hav= e in aiding or undermining participants=92 abilities to recognize chord loops.</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> In a detailed examination of the German <i>Schlager</i> genre, <a href= =3D"https://emusicology.org/article/id/6608/" id=3D"OWA548ede8d-5111-f4a7-4= 3fd-3f5432f30883" class=3D"OWAAutoLink" title=3D"https://emusicology.org/ar= ticle/id/6608/"> Thiesen</a> conducted a content analysis of the lyrics to test whether= there was empirical evidence consistent with the stereotypical assumptions= about the genre as conforming to conservative social dynamics. While his s= tory presents a more nuanced view of the content of the songs, his results are consistent with his <i>a priori = </i>hypotheses that the values of <i>Schlager</i> music have changed little over time and that described= relationships are almost entirely heterosexual, but also that critical sub= texts in the songs have increased. <a href=3D"https://emusicology.org/article/id/6860/" id=3D"OWA0822a812-ddb4= -db06-792c-842d78adfe08" class=3D"OWAAutoLink" title=3D"https://emusicology= .org/article/id/6860/"> Wolthier</a>, however, questions some methodological decisions, pointing ou= t that focusing on top-10 songs biases the sample toward DJ-played <i>Partyschlager</i>, which makes crowd appeal a predominant value over mor= e reflective songs that may evidence greater diversity. He also highlights = the complexity of concepts like diversity and representation, underscoring = the difficulty of operationalizing these kinds of multi-faceted concepts.</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> Extending earlier scholarship on the role of pre-learned patterns in jazz s= olos, <a href=3D"https://emusicology.org/article/id/6605/" id=3D"OWAa84c9ae= 6-bffd-2331-1750-d56fdd7020d2" class=3D"OWAAutoLink" title=3D"https://emusi= cology.org/article/id/6605/"> Nurmi</a> examines forty-two transcriptions of bass solos from Paul Ch= ambers and Ron Carter to estimate the extent to which these solos rely on s= tock patterns and licks. Nurmi found that these sorts of pre-learned patter= ns were less prominent in the Chambers and Carter corpus than found in earlier studies. Moreover, his findings su= ggest that using overlapping patterns, allowing patterns to begin at any no= te, and other methodological decisions made by other researchers may have l= ed to overestimation of the role of these patterns in solos. However, <a href=3D"https://emusicology.org/ar= ticle/id/6906/" id=3D"OWAb6218143-a7ed-87d1-3b44-70aae115965a" class=3D"OWA= AutoLink" title=3D"https://emusicology.org/article/id/6906/"> Norgaard</a> points out that there may be significant differences in s= trategies between bass solos and other instruments. Further, he argues that= short melodic patterns are indeed important components of many musicians= =92 solo strategies.</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> Finally, in a significant contribution for Baroque corpus researchers, <a h= ref=3D"https://emusicology.org/article/id/6679/" id=3D"OWA8bf809b5-5a90-1fb= 0-5baf-a593c2d32ff2" class=3D"OWAAutoLink" title=3D"https://emusicology.org= /article/id/6679/"> Roux, Giraud, and Lev=E9</a> present a data report detailing their new= corpus of all 38 Corelli trio sonata slow movements in the <i>Sonate da chiesa</i> Opp. 1 and 8. With over 7,000 annotations pert= aining to musical elements such as texture, thematic and imitation patterns= , and rhythmic density, this corpus provides new opportunities to explore u= nder-theorized and under-researched elements of musical style.</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> Sincerely,</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> Joshua Albrecht</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> Niels Chr. Hansen</div> <div class=3D"elementToProof" style=3D"text-align: left; text-indent: 0px; = margin-top: 0px; margin-bottom: 1rem; font-family: Aptos, Aptos_EmbeddedFon= t, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; co= lor: rgb(0, 0, 0);"> Editors, <i>Empirical Musicology Review</i></div> <div class=3D"elementToProof" style=3D"font-family: Aptos, Aptos_EmbeddedFo= nt, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-size: 12pt; c= olor: rgb(0, 0, 0);"> <br> </div> <div id=3D"Signature" class=3D"elementToProof"> <p class=3D"elementToProof" style=3D"text-align: left; line-height: 1.7; ma= rgin-top: 0px; margin-bottom: 0px; font-family: Arial, Helvetica, sans-seri= f; font-size: 16px;"> <b>Joshua Albrecht, PhD</b><br> Assistant Professor of Music Theory<br> 95 East Burlington Street, Iowa City, Iowa 52242<br> <span style=3D"color: initial;"><a href=3D"http://www.uiowa.edu/" title=3D"= uiowa.edu" style=3D"color: initial; margin-top: 0px; margin-bottom: 0px;"><= b><u>uiowa.edu</u></b></a></span></p> <div class=3D"elementToProof" style=3D"text-align: left; line-height: 1.7; = margin-bottom: 1.05rem; font-family: Roboto, sans-serif; font-size: 19.2px;= "> <img alt=3D"The University of Iowa Logo" data-src=3D"/sites/brand.uiowa.edu= /files/styles/medium/public/2020-05/IOWA-EmailSignature_1.png?itok=3D4xhxAt= sW" width=3D"150" style=3D"width: 150px; height: auto; max-width: 100%;" sr= c=3D"https://brand.uiowa.edu/sites/brand.uiowa.edu/files/styles/medium/publ= ic/2020-05/IOWA-EmailSignature_1.png?itok=3D4xhxAtsW"></div> </div> </body> </html> --_000_BL0PR04MB46272B1CF1E4B1D558F5D78EE5E62BL0PR04MB4627namp_--