The Effect of Varied Articulations on Listeners' Perceptions of Forcefulness of Attack and Length of Sustain
Jason M. Silveira · Contributions to music education · 2011
The purpose of this study was to determine effect of varied accent/articulation marks on listeners' perceptions of forcefulness of attack and length of sustain in trombone articulations. Musicians (N = 68) were asked to listen to a series of seven short musical excerpts in which a predefined set of pitches would be accented. Participants rated each example on forcefulness of attack and length of sustain by using a 5-point Likert-type scale. Results indicated significant differences between attack ratings and length of sustain ratings for seven articulation marks. Additionally, there was a significant interaction between major and attack rating. A free response portion allowed listeners to assign an articulation mark to tones they heard. Results indicated more agreement for one-dimensional symbols than for multi-dimensional symbols; however, uniformity of agreement was not achieved on many of symbols. Generalizations of forcefulness of attack and length of sustain of indicated symbols and pedagogical implications are discussed. (ProQuest: ... denotes formulae omitted.) The very nature of performing music is one that encourages subjectivity. As one listens to music, one makes value judgments based on audio-visual stimuli being presented by a performing ensemble. This subjectivity encompasses many aspects of music performance. For example, terms musicians use to differentiate dynamics could be described as a ranking system based on comparative intensity levels. Historically, dynamics in music performance have not been codified as clearly as other elements of music (Brown, 2007; Chew, 2007; Macpherson, 1932; McBeth, 1972; Thiemel, 2007). Throughout course of music history, advances in music notation have allowed for more specificity of many elements in music performance practice. From Guidonian Hand to neumatic notation to current system of notation, formalization of orchestral score, and a more detailed specification of all parameters of sound have resulted in an attempt to prescribe many details of music performance (Bent, Hughes, Provine, & Rastall, n.d.). However, accents and articulation markings are examples of less objective symbols found in music. While articulation has been examined in music research, there is a paucity of literature relating to interpretation of accent marks. This study seeks to examine that aspect of music in an effort to empirically differentiate between a variety of accent-related symbols in order to understand how they are interpreted by listeners. Accents in Music An accent is defined as prominence given to a note or series of in a performance that are perceptible by listener (Thiemel, 2007). What defines however, can occur in multiple forms. A note may receive prominence because its duration is lengthened (agogic accent), an ornament precedes it (pitch accent), or its intensity is increased (dynamic accent). Regardless of how specific are given prominence, accents are meant to attract attention of listener (Parncutt, 2003; Thiemel, 2007). The ambiguity of articulations and accents are underscored by Keller's (1965) statement that purpose of articulation is the binding together or separation of individual notes (p. 31). However, Parncutt (2003) described time, pitch, loudness, and timbre as four components of accents. The performance of accents has traditionally been difficult to notate. As a result, their performance practice is often transmitted orally rather than in a comprehensive notated form (Chew, 2007). Despite some of ambiguous definitions, attempts have been made to identify and define execution of accent and articulation marks. Such attempts are documented by Brown (2007), who stated that by end of 19th century, dot, dash, and wedge symbols acquired conflicting meanings, especially among German and French violinists. More specifically, German musicians associated dash with an accented staccato, and dot with a lighter staccato. …