Effects of interpretation on timing in piano performance
Caroline Palmėr · The Journal of the Acoustical Society of America · 1987
Three timing methods in piano performance were described in a previous report [C. Palmer, J. Acoust. Soc. Am. Suppl. I 79, S75 (1986)]: onset asynchronies, rubato patterns, and legato and staccato patterns. The present study examined the relation of these timing methods to performers' intended interpretations of an excerpt. Norated interpretations included indication of primary melody, phrasing, dynamics, and tempo changes. Performances were recorded on a computer-monitored (MIDI interface), velocity-sensitive, weighted keyboard. The performances showed consistent temporal patterns, directly related to the specified interpretations. Onset asynchronies occurred within chords, such that the primary melody (as notated by each performer) preceded the other voices. Asynchronies were generally largest on the first beat of each measure, marking the excerpt's metrical structure. Rubato patterns (deviations in tempo from mechanical regularity) showed larger changes between, than within performers' notated phrases. Legato and staccato patterns within phrases were accurately predicted by a combination of the durations of successive notes in the musical score, but only when performers' intended phrasings were taken into account. Each of these timing patterns decreased in degree when the pianists were asked to play unmusically. [Work supported by NSF and NIMH.]