Aural analysis for performing musicians

The relationship between accents and expression

Richard ParncuttUniversität Graz

VI . Kongress der Gesellschaft für Musiktheorie, Weimar, 6.-8-10.06

Introduction

• Information transmitted in performance• Typical performance of a work• Salience and accentuation• Immanent vs performed accents

Parncutt: Aural analysis for performing musicians

Aims

analyse a musical work aurally explain its perception guide its interpretation

understand the “work itself” not a specific performance

Information transmitted in music performance

score (categorical)note names, note values…tempo and dynamic markings…

performance (continuous)tempo, timing, dynamics, articulation,

timbre…

“Typical” performance of a work

“typical” = average MIDI data (Repp, 1997) Schumann "Träumerei" (op. 15, No. 7) Chopin Etude in E major (op. 10, No. 3)

result: average is preferred! conclusion: “typical” performance exists

a suitable basis for aural analysis

Salience

Definitions of “event salience”:probability of noticingperceptual importance

“Aural analysis” should:highlight salient eventsexplain why they are salient

Accent

Broad definition: any salient event

Broad classification: immanent (werkimmanent)performed (interpretatorisch)

Immanent accents

metrical M grouping G melodic C harmonic H

Performed accents

agogic articulatory dynamic timbral

Performance of accents

Examples

• Melodic, harmonic accents• Metrical, grouping accents• Functions of performed accents• Combinations of accent types

Parncutt: Aural analysis for performing musicians

Melodic accents

Harmonic accents

Metrical accents

M M M M M

> > >

Grouping accents

…………………………………..

Function of performed accents

Q: Which immanent accents are emphasized most in performance?

A: Those that are already salient

Conclusion: Performance accents clarify & exaggerate immanent accentsdisambiguate musical structure

Combinations of accent types

A testable prediction

Expressiveness depends on local immanent accent density

Expressiveness: intensity of emotion deviation of tempo etc. from global mean

Local immanent accent density: typical analysis by music theorist “local” = sum of sliding window

Conclusions

• The art of musical interpretation• What the theory neglects • What makes a good theory?• Future research

Parncutt: Aural analysis for performing musicians

Thesis

Performed accents clarify or exaggerate

selected immanent accents perceived musical structure

Cf. Crelle (1823) “Ausdruck und Vortrag für Fortepiano-Spieler”

The art of musical interpretation Awareness of

structure (immanent accents; their salience) expressive possibilities (performed accents)

Immanent accents: Which to emphasize? (already salient?) How much?

Performed accents: Which to use? How much? In what way?

diversity of “good” interpretations ☺ non-falsifiable theory? ☻

What the theory neglects

Shape of gestures (implied) physical movement idiosyncratic gestures, clichés

Aspects of musical meaning Ecological origins Life experience

Pragmatic evaluation

How can a music theory be useful? relatively simple and general supports explanation and understanding invites new performance interpretations can link theory teaching to performance

Compare: Riemann Funktionslehre Schenker Stimmführung/Ursatz pitch-class set theory

Future research Qualitative:

aural analyses pedagogical tests

Quantitative: computer model (cf. Sundberg & Friberg) comparison of predictions with MIDI data

In both cases: openness for revision and extension first pianists, then others

Aural analysis for performing musicians

The relationship between accents and expression

Richard ParncuttUniversität Graz

VI . Kongress der Gesellschaft für Musiktheorie, Weimar, 6.-8-10.06

Sorry about my accent!