Animacy, Anthropomimesis, And Musical Line

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  Animacy, Anthropomimesis, and Musical Line DissertationPresented in Partial Fulfillment of the Requirements for the DegreeDoctor of Philosophy in the Graduate School of an Ohio StateUniversityByGeorge John (Yuri) Broze IIIGraduate Program in Music TheoryThe Ohio State University2013Dissertation Committee: David Huron, AdvisorDavid ClampittGregory Proctor   All rights reservedINFORMATION TO ALL USERSThe quality of this reproduction is dependent upon the quality of the copy submitted.In the unlikely event that the author did not send a complete manuscriptand there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.Microform Edition © ProQuest LLC. All rights reserved. This work is protected againstunauthorized copying under Title 17, United States CodeProQuest LLC.789 East Eisenhower ParkwayP.O. Box 1346 Ann Arbor, MI 48106 - 1346UMI 3673524Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author.UMI Number: 3673524  © Copyright byGeorge John (Yuri) Broze III2013  Abstract Music is argued to exhibit animacy cues—perceptual indicators that it is alive. In par-ticular, musical lines mimic three characteristics of humans: voice, gait, and language.Empirical approaches are used to investigate the influence of polyphonic voice multi-plicity on musical emotion perception, and to test for correspondences between melodicspeed and pitch height in western compositions.ii
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