![]() This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Consequently, three contemporary music emotion theories (BRECVEMA, Multifactorial Process Approach, and a Constructionist Account) are examined through a skeptical lens. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of (emotion) behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This paper discusses contemporary advancements in the affective sciences (described together as skeptical theories) that can inform the music-emotion literature. ![]() Department of Music, Durham University, Durham, United Kingdom.The terms are commonly used in conjunction with other terms, such as allegro molto (very fast) and con amore (with love). Repeat from the sign to the sign (sometimes replaced by To Coda), then skip to the concluding Coda passage Repeat from the beginning to the sign (sometimes replaced by To Coda), then skip to the concluding Coda passage Repeat from the beginning to the word Fine The directions are used as navigation markers to instruct the performer to repeat a certain section of the piece. The terms help the performer to capture the mood of a piece through variations in tempo, dynamics and articulation. Plucked with the finger rather than bowedĪ rapid repeated slight change in the pitch of a note Without a mute or (on piano) with the sustain pedal pressed With a mute or (on piano) without the sustain pedal Notes played with a smooth connection between them TermĬhord notes played in succession rather than simultaneouslyĪ continuous slide from one note to another The terms instruct the performer to use a certain playing technique in order to produce the desired sound. List of common terms for playing techniques. Reinforced (applied to a note, chord or phrase) Suddenly accented (applied to a note or chord) Word directions can be extended with dashes to indicate the duration of the change. ![]() are used for changes over a longer period. The hairpins ( ) are used for dynamic changes over just a few bars, while cresc. Contrary to other italian markings, dynamic markings are usually written below the staff or centered between the two staves in the grand staff. The markings indicate the relative variation in loudness and do not refer to specific volume levels. TermĪt pleasure, the tempo may be decided by the performer Words for gradual changes can be extended with dashes to indicate the duration of the change, for example " rit. Rather slow and broad, slightly faster than largo Moderate tempo, slightly faster than andante Moderate walking pace, faster than andante Moderately fast, slightly slower than allegro In modern music, a metronome mark indicating the number of BPM (such as ♩= 120) may supplement or replace the tempo marking. The specified number of beats-per-minute (BPM) is only a general guide.
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