Expressiveness in music performance: Empirical approaches across styles and cultures

423 Pages·2014·16.929 MB·English

by  Dorottya Fabian, Renee Timmers, Emery Schubert

Expressiveness in Music
Performance

Expressiveness in
music performance 
Empirical approaches across
styles and cultures
Edited by
Dorottya Fabian
Renee Timmers
Emery Schubert
1
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Dedicated to
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for their pioneering work, leadership, and inspiration in music expression research

Contents
List of Figures and Score Examples ix
List of Tables xii
List of Audio and Video Examples xiii
Notes on Contributors xv
Notes and Acknowledgements xix
Introduction Dorottya Fabian, Renee Timmers, and Emery Schubert xxi
Part 1 Reception and Aesthetics of Western Classical Music
Performance
1 Philosophical Reflections on Expressive Music Performance 3
Mine Doğantan-Dack
2 The Notion of Expression in Music Criticism 22
Elena Alessandri
3 Heuristics for Expressive Performance 34
Daniel Leech-Wilkinson and Helen M. Prior
4 Commercial Sound Recordings and Trends in Expressive Music
Performance: Why Should Experimental Researchers Pay Attention? 58
Dorottya Fabian
5 Expressiveness in Historical Perspective: Nineteenth-Century Ideals and
Practices 80
David Milsom and Neal Peres Da Costa
6 Expressive Performance in Contemporary Concert Music 98
Eric Clarke and Mark Doffman
Part 2 Expressiveness across Styles and Cultures
7 Understanding Performance Expression in Popular Music Recordings 117
Nicola Dibben
8 Expressiveness in Jazz Performance: Prosody and Rhythm 133
William R. Bauer
9 Expressiveness in Funk 154
Richard Ashley
10 Audience Response and Expressive Pitch Inflections in a Live Recording of
Legendary Singer Kesar Bai Kerkar 170
Wim van der Meer
viii Contents
11 Temporal Variation in Singing as Interplay between Speech and Music in
Estonian Songs 185
Pärtel Lippus and Jaan Ross
12 Expressiveness in the Performance of Bedzan Pygmies’ Vocal
Polyphonies: When the Same is Never the Same 201
Fabrice Marandola
Part 3 Models and Quantifications of Expressive Performance
of Western Classical Music
13 Quantitative Methods: Motion Analysis, Audio Analysis, and Continuous
Response Techniques 221
Werner Goebl, Simon Dixon, and Emery Schubert
14 Using Computational Models of Music Performance to Model Stylistic
Variations 240
Anders Friberg and Erica Bisesi
15 Ensemble Performance: Interpersonal Alignment of Musical Expression 260
Peter Keller
16 A Taxonomy of Listeners’ Judgements of Expressiveness in Music
Performance 283
Emery Schubert and Dorottya Fabian
17 Training Expressive Performance by Means of Visual Feedback: Existing and
Potential Applications of Performance Measurement Techniques 304
Renee Timmers and Makiko Sadakata
Part 4 Prospectives
18 Implications for Music Studies 331
Nicholas Cook
19 Implications for Cognitive Studies of Musical Expressiveness 335
Catherine J. Stevens
20 Implications for Ethnomusicology 340
Jonathan P. J. Stock
21 Implications for Empirical Expressive Music Performance Research 344
Jane W. Davidson
22 Implications for Education 348
Aaron Williamon
Appendix: Afterthought 353
Dorottya Fabian, Renee Timmers, and Emery Schubert
Author Index 357
Subject Index 365
List of Figures and Score Examples
3.1 Participant’s explanation of musical features potentially eliciting an emotional response. 48
3.2 Participant’s mention of specific features of Classical style. 51
3.3 Possible relationships between selected heuristics for musical expression discussed by
participants. 53
4.1 Spectrograms of six recordings of Bach’s D minor Sarabanda (BWV 1004) bars 1–3. 63–65
4.2 Score and graph of tempo fluctuation in Maud Powell’s 1910 recording and four more
recent versions (Kempff, Barenboim, Burnett, and Jando) of the final phrase (bars 25–32)
in Schumann’s Träumerei from Kinderszenen, Op. 15 No. 7. 70
4.3 Score and comparison of tempo fluctuation (calculated from beat onset times) in
three early and four more recent recordings of the penultimate phrase (bars 17–24) of
Schumann’s Träumerei from Kinderszenen, Op. 15 No. 7. 71
4.4 Melody delay and anticipation in three performances of Chopin’s Nocturne in E flat major,
Op. 9 No. 2 (bars 4 and 6). 72
5.1 Thalberg (1853/1857, p. 5) superscripted signs. 84
5.2 Bars 65–69 from Joachim’s Romanze, showing application of vibrato in Joachim’s 1903
recording. 87
5.3 Bars 29–30 from Schumann’s Romance, Op. 28 No. 2, with arpeggiation delineating voices
in polyphonic texture, as recommended by Brée (1902, p. 72). 89
5.4 Bars 1–6 of Variation No. 4 from Paderewski’s Thème varié, Op. 16 No. 3, with arpeggiation
delineating voices in canon as recommended by Brée (1902, p. 73). 89
5.5 Bars 2–3 of Grillen, Op. 12 No. 4, from Schumann’s Fantasiestücke, with arpeggiation to
enhance emphasis as recommended by Brée (1902, p. 70). 89
5.6 Spectrogram of bars 25–31 of Joachim’s Romanze, as performed by Joachim in 1903. 92
5.7 Spectrogram of bars 25–31 of Joachim’s Romanze, as performed by Milsom in 2008. 92
6.1 Bars 88–89 of Superscriptio (1982) for solo piccolo by Brian Ferneyhough. 99
7.1 Spectrogram of “Someone Like You,” verse 1, 0:14–0:30. 122
7.2 Spectrogram of “Someone Like You,” chorus, 1:14–1:27. 122
8.1 Final measures of “Tight Like This.” 141
8.2 Cross-tempo in final measures of “Tight Like This.” 143
8.3 “Basin Street Blues,” narrative utterance in mm. IV. 15–V.3. 146
8.4 “Basin Street Blues,” 3-3-3 variants in Choruses I and III and Choruses IV and V. 148–149
9.1 Primary clavinet pattern from “Superstition.” Average microtimings for the pattern as
played in the song’s introduction. 160
9.2 “Give up the Funk (Tear the Roof off the Sucker),” primary bass and vocal riff for
chorus. 162