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    Devaney Indiana 10

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    This document summarizes research on expressive performance studies and what they can tell us about how musical materials are organized. It discusses studies that analyzed timing, dynamics, intonation, and vibrato in performances of piano music, singing, and violin. Parameters like timing deviations from a metronome, relative loudness for dynamics, and cycles per second for intonation and vibrato were measured. Results showed relationships between expressive qualities and musical structure, tonality, and ensemble effects. This research provides insights into how musical expression is used to convey musical structure and meaning.

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    Devaney Indiana 10

    Uploaded by

    Joe
    23 views1 page
    This document summarizes research on expressive performance studies and what they can tell us about how musical materials are organized. It discusses studies that analyzed timing, dynamics, intonation, and vibrato in performances of piano music, singing, and violin. Parameters like timing deviations from a metronome, relative loudness for dynamics, and cycles per second for intonation and vibrato were measured. Results showed relationships between expressive qualities and musical structure, tonality, and ensemble effects. This research provides insights into how musical expression is used to convey musical structure and meaning.

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    Devaney Indiana 10

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    This document summarizes research on expressive performance studies and what they can tell us about how musical materials are organized. It discusses studies that analyzed timing, dynamics, intonation, and vibrato in performances of piano music, singing, and violin. Parameters like timing deviations from a metronome, relative loudness for dynamics, and cycles per second for intonation and vibrato were measured. Results showed relationships between expressive qualities and musical structure, tonality, and ensemble effects. This research provides insights into how musical expression is used to convey musical structure and meaning.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    23 views1 page

    Devaney Indiana 10

    Uploaded by

    Joe
    This document summarizes research on expressive performance studies and what they can tell us about how musical materials are organized. It discusses studies that analyzed timing, dynamics, intonation, and vibrato in performances of piano music, singing, and violin. Parameters like timing deviations from a metronome, relative loudness for dynamics, and cycles per second for intonation and vibrato were measured. Results showed relationships between expressive qualities and musical structure, tonality, and ensemble effects. This research provides insights into how musical expression is used to convey musical structure and meaning.

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    of 1

    WHAT CAN EXPRESSIVE PERFORMANCE STUDIES TELL US

    ABOUT THE ORGANIZATION OF MUSICAL MATERIALS


    Johanna Devaney
    [email protected]

    Carl Seashore Intonation in Vocal Ensembles


    • Seashore and colleagues at the • Experiment
    University of Iowa (1936, 1938) • 4 Professional singers (SATB)
    • Parameters: timing, dynamics, • 3 takes of 4 exercises sung to the syllable ‘la’
    intonation, vibrato
    • Exercises were designed to explore opposition between vertical/
    • Subjects: pianists, violinists, singers horizontal tuning and pitch drift
    • Expressivity in performances conveyed
    •Each of the singers were close-miked and the recordings were
    through deviations from a norm Source: www.acsu.buffalo.edu/~duchan/
    analyzed using YIN, a fundamental frequency estimation algorithm
    • Timing deviations measured in relation to a metronome (deCheveinge and Kawahara 2003)
    • Dynamics measured in terms of relative loudness •The perceived pitch was assumed to be the mean of the frame-
    • Intonation and vibrato measured in cycles per second
    wise fundamental frequency estimates over the stable portion of
    the note (Brown and Vaughn 1996)
    Timing and Dynamics
    • Some preliminary results from Exercise 1
    • Piano performance is widely studied due in part to the
    • large amount of solo repertoire
    • existence of specially equipped pianos
    to measure performances
    • Bengtsson and Gabrielsson (1980) undertook
    a number of experiments on musical rhythm
    in performance
    • Todd (1985, 1989) studied both
    rubato and dynamics Bosendorfer SE piano, BRAMS
    • Clarke (1989) related rhythmic tendencies to the structural
    hierarchy of the piece and note-level expressive gestures
    • Repp (1992) examined timing in piano performance and related
    it to phrase hierarchy
    • Surveys available in Palmer (1997) & Gabrielsson (1999, 2003)

    Intonation
    • Fyk (1995) studied intonation in solo violin and explored the
    relationship between intonation tendencies and gravitational
    attractions at work within the tonal system
    • Jers and Ternstrom (2005) studied intonation and vibrato a
    16-part choir in attempt to define “chorus-effect”
    • Howard (2007a, 2007b) examined pitch drift and adherence to
    Equal Temperament or Just Intonation in an SATB quartet
    • Timmers (2007) studied intonation in several Schubert songs
    and related the results to musical structure
    • Ambrazevičius and Wiśniewska (2008) studied chromaticism
    and pitch inflection in traditional Lithuanian singing and
    derived rules to explain chromatic inflections for leading tones,
    and ascending and descending sequences
    • Marinescu and Ramirez (2008) analyzed timing, dynamics, and
    intonation in excerpts from several arias performed by Jose
    Carreras and related the collected data to Narmour’s
    implication-realization model (1990)

    References
    Ambrazevičius, R., and I. Wiśniewska. 2008. Chromaticisms or performance rules? Evidence Gabrielsson, A. 2003. Music performance research at the millennium. Psychology of music
    from traditional singing. Journal of Interdisciplinary Music Studies 2 (1–2): 19–31. 31: 221–72.
    Bengtsson, I., and A. Gabrielsson. 1980. Methods for analyzing performance of musical Howard, D. M. 2007a. Equal or non-equal temperament in a cappella SATB singing.
    rhythm. Scandinavian Journal of Psychology 21: 257–68. Logopedics Phoniatrics Vocology 32: 87–94
    Bengtsson, I., and A. Gabrielsson. 1983. Analysis and synthesis of musical rhythm. Studies Howard, D. M. 2007b. Intonation drift in a capella soprano, alto, tenor, bass quartet singing
    of Musical Performance 39: 27–60. with key modulation. Journal of Voice 21 (3): 300–15.
    Brown, J. C., and K. V. Vaughn. 1996. Pitch center of stringed instrument vibrato tones. Jers, H., and S. Ternstrom. 2005. Intonation analysis of a multi-channel choir recording.
    Journal of the Acoustical Society of America 100 (3): 1728–35. TMH-QPSR 47 (1): 1–6.
    Clarke, E. 1989. The perception of expressive timing in music. Psychological Research 51: Marinescu, M.-C., & Ramirez, R. . 2008. Expressive performance in the human tenor voice.
    2–9. In Proceedings of the Sound and Music Computing Conference.
    de Cheveigné, A., and H. Kawahara. 2002. Yin, a fundamental frequency estimator for Narmour, E. 1990. The analysis and cognition of basic musical structures. Chicago, IL:
    speech and music. Journal of the Acoustical Society of America 111 (4): 1917–30. University of Chicago Press.
    Devaney, J., and D. Ellis. 2008. An empirical approach to studying intonation tendencies in Seashore, C. 1936. Objective analysis of musical performance. Iowa City, IA: University of Iowa
    polyphonic vocal performances. Journal of Interdisciplinary Music Studies 2 (1–2): Press.
    141–56. Seashore, C. 1938. Psychology of music. Iowa City, IA: University of Iowa Press. Original
    Devaney, J., M. I. Mandel, and D. P. W. Ellis. 2009. Improving midi-audio alignment with edition, New York, NY: Dover Publications.
    acoustic features. In Proceedings of the Workshop on Applications of Signal Processing to Timmers, R. 2007. Vocal expression in recorded performances of Schubert songs. Musica
    Audio and Acoustics. 45–8. Scientiae 11 (2): 237–68.
    Fyk, J. 1995. Melodic intonation: Psychoacoustics, and the violin. Zielona Góra: Organon. Todd, N. 1985. A model of expressive timing in tonal music. Music Perception 31 (1): 33–58.
    Gabrielsson, A. 1999. The performance of music. . In The psychology of music, edited by Todd, N. 1989. The dynamics of dynamics: A model of musical expression. Journal of the
    Deutsch, D. Second edition, San Diego, CA: Academic Press, 501–602. Acoustical Society of America 91 (6): 3540–50.

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