"Life, Color, Warmth and Truth"
Expressive timing in German late Romantic organ music
DOI:
https://doi.org/10.35699/2317-6377.2020.26080Keywords:
Hugo Riemann, Music information retrieval, Expressive timing, Organ performanceAbstract
This paper proposes a mathematical model for expressive timing in German late Romantic organ music based on Riemannian phrasing principles. The model is built following the symmetric hierarchical motivic scheme and then applied to the organ work of Max Reger. It was shown that music expressive content is carried by the model parameter defined as temporal elasticity. Along with the standard analytical and empirical evaluation, the model was also evaluated in terms of its naturalness. We found that the correlation between model and human performance is comparable with the correlation between distinct professional human interpretations.
Downloads
References
Bhatara, Anjali, Anna Tirovolas, Lilu Duan, Levy, Bianca, and Levitin, Daniel. 2011. Perception of Emotional Expression in Musical Performance. Journal of Experimental Psychology, 37(3):921–934.
Buttmann, Bernhard. 2015. Max Reger: Complete Organ Works, Volume 4. Oehms Classics OC854, compact disc.
Cheng, Eric and Chew, Elaine. 2009. Quantitative Analysis of Phrasing Strategies in Expressive Performance: Computational Methods and Analysis of Performances of Unaccompanied Bach for Solo Violin. Journal of New Music Research, 37(4):325–338.
Craft, Robert and Stravinsky, Igor. 1982. Dialogues. University of California Press.
Dixon, Simon. 2007. Evaluation of the Audio Beat Tracking System Beatroot. Journal of New Music Research, 36(1):39–50.
DryWetMidi. 2020. C#/.NET library for high-level processing of standard MIDI files.
https://github.com/melanchall/drywetmidi, last accessed October 27, 2020.
Dupont, Jean-Baptist. 2012. Max Reger: Intégrale de l’œuvre pour Orgue, Volume 1. Hortus 086-087, compact disc.
Friberg, Anders, Bresin, Roberto, and Sundberg, Johan. 2006. Overview of the KTH Rule System for Musical Performance. Advances in cognitive psychology, 2(2–3):145–161.
Fugatto. 2020. The Link Organ of the Ev. Stadtkirche at Giengen-an-der-Brenz (Germany).
http://fugatto.free.fr/giengen_adb.html, last accessed October 21, 2020.
Gabrielsson, Alf. 2003. Music Performance Research at the Millennium. Psychology of Music, 31(3):221–272. 3. Translated from German by Yu. D.
Gingras, Bruno. 2008. Expressive strategies and performer-listener communication in organ performance. McGill University, Montreal, Canada.
Gingras, Bruno and McAdams, Stephen. 2011. Improved score-performance matching using both structural and temporal information from MIDI recordings. Journal of New Music Research, 40:43–57.
Gingras, Bruno, McAdams, Stephen, and Schubert, Peter. 2010. The performer as analyst: a case study of JS Bach’s “Dorian" Fugue (BWV 538). Music Theory and Interdisciplinarity—8th Congress of the Gesellschaft für Musiktheorie Graz, Saarbrücken: Pfau-Verlag.
Gingras, Bruno, Pearce, Marcus, Goodchild, Meghan, Dean, Roger, and McAdams, Geraint Wiggins Stephen. 2016. Linking melodic expectation to expressive performance timing and perceived musical tension. Journal of Experimental Psychology: Human Perception and Performance, 42(4):594–609.
Grosche, Peter and Müller, Meinard. 2011. Extracting Predominant Local Pulse Information from Music Recordings. IEEE Transactions on Audio, Speech and Language Processing, 19(6):1688–1701.
Göbl, Werner, Simon Dixon, Giovanni De Poli, Friberg, Anders, Bresin, Roberto, and Widmer, Gerhard. 2008. Sense in Expressive Music Performance: Data Acquisition, Computational Studies, and Models. In Sound to Sense – Sense to Sound: A State of the Art in Sound and Music Computing, Berlin: Logos.
Hong, Ju-Lee. 2003. Investigating Expressive Timing and Dynamics in Recorded Cello Performances. Psychol- ogy of Music, 31(3):340–352.
Jerkert, Jesper. 2004. Music Articulation in the Organ. Proceedings of Joint Baltic-Nordic Acoustics Meeting, Mariehamn, Finland.
Jillings, Nicholas, Man, Brecht De, Moffat, David, and Reiss, Joshua. 2015. Web Audio Evaluation Tool: A Browser-Based Listening Test Environment. Proceedings of the 12th Sound and Music Computing Conference, Maynooth.
Juslin, Patrik. 2000. Cue Utilization in Communication of Emotion in Music Performance: Relating Performance to Perception. Journal of Experimental Psychology: Human Perception and Performance, 26:1797–1813.
Lagarias, Jeffrey, Reeds, James A., Wright, Margaret, and Wright, Paul. 1998. Convergence Properties of the Nelder-Mead Simplex Method in Low Dimensions. SIAM Journal of Optimization, 9(1):112–147.
Laukvik, Jon. 2006. Aspekte Musikalischer Interpretation in der Spätromantik. Orgelschule zur historischen Aufführungspraxis – Teil 2: Orgel und Orgelspiel in der Romantik von Mendelssohn bis Reger und Widor, Stuttgart: Carus.
Laukvik, Jon. 2010. Historical Performance Practice in Organ Playing, Part 2. The Romantic Era. Stuttgart: Carus.
Lerdahl, Fred and Jackendoff, Ray. 1983. A Generative Theory of Tonal Music. Cambridge: The MIT Press.
Lohmann, Ludger. 1995. Hugo Riemann and the Development of Musical Performance Practice. Proceedings of the Göteborg International Organ Academy, Department of Musicology: Göteborg University.
Lohmann, Ludger. 1998. Max Reger: Organ Works, Volume 2. Naxos 8.553927, compact disc.
McKinney, Martin, Moelants, Dirk, Davies, Matthew, and Klapuri, Anssi. 2007. Evaluation of Audio Beat Track- ing and Music Tempo Extraction Algorithms. Journal of New Music Research, 36(1):1–16.
Milligan, Keziah and Bailey, Nicholas. 2015. A Review of Software for Note Onset Detection. Proceedings of the 4th International Scientific Meeting for Sound and Musical Instrument Studies, Tavira, Portugal.
Mozart, Wolfgang Amadeus. 1866. The Letters of Wolfgang Amadeus Mozart (1769-1791), Vol. 1. New York and Philadelphia.
Nielsen, Siw. 1999. Regulation of Learning Strategies during Practice: A Case Study of a Single Church Organ Student Preparing a Particular Work for a Concert Performance. Psychology of Music, 27:218–229.
Palmer, Caroline. 1996. On the Assignment of Structure in Music Performance. Music Perception, 14:23–56. Palmer, Caroline. 2005. Timing in skilled piano performance. The Journal of the Acoustical Society of America, 85:66.
Pals, Herman. 2019. Max Reger (1873–1916), 30 kleine Choralvorspiele, No 1–10, Opus 135a. YouTube video, 15:47. Posted February 15, 2019. https://www.youtube.com/watch?v=p34MHTksixU.
Pirkl, Thorsten. 2016. Max Reger (1873–1916), 30 kleine Choralvorspiele, No 1–10, Opus 135a. YouTube video, 9:07. Posted September 2, 2016. https://www.youtube.com/watch?v=p34MHTksixU.
Rehding, Alexander. 2003. Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism). Cambridge University Press.
Repp, Bruno. 1998. A Microcosm of Musical Expression. I. Quantitative Analysis of Pianists’ Timing in the Initial Measures of Chopin’s Etude in E major. The Journal of the Acoustical Society of America, 104(2):1085–1100.
Riemann, Hugo. 1884. Musikalische Dynamik und Agogik, Lehrbuch der musikalischen Phrasierung auf Grund einer Revision der Lehre von der musikalischen Metrik und Rhythmik. Hamburg, Germany.
Riemann, Hugo. 1900. Präludien und Studien: gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der Musik, Band II. Leipzig: Hermann Seemann.
Riemann, Hugo. 1903. System der Musikalischen Rhythmik und Metrik. Leipzig: Breitkopf & Härtel.
Riemann, Hugo. 1912. Vademecum der Phrasierung. Leipzig: M. Hesse.
Riemann, Hugo and Fuchs, Carl. 1890. Katechismus der Phrasierung: praktische Anleitung zum Phrasieren. Leipzig: Hesse & Becker.
Sander, Natalia. 2006. Max Reger’s Organ Works in Aspect of its Biographical, Instrumental and Interpretational questions. Ph.D. Dissertation. Nizhny Novgorod: M. Glinka Nizhny Novgorod State Conservatory press (In Russian).
Szabó, Balázs. 2016. Zur Orgelmusik Max Regers. Bonn: Dr. Josef Butz Verlag.
Todd, Neil. 1985. A Model of Expressive Timing in Tonal Music. Music Perception: An Interdisciplinary Journal, 3(1):33–57.
Todd, Neil. 1992. The Dynamics of Dynamics: A Model of Musical Expression. Journal of The Acoustical Society of America, 91(6):3540–3550.
Vines, Bradley, Krumhansl, Carol, and Levitin, Daniel. 2006. Cross-modal interactions in the perception of musical performance. Cognition, 101(1):80–113.
Windsor, Luke and Clarke, Eric. 1997. Expressive timing and dynamics in real and artificial musical perfor- mances: Using an algorithm as an analytical tool. Music Perception, 15(2):127–152.
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Per Musi
This work is licensed under a Creative Commons Attribution 4.0 International License.
Except where otherwise noted, contents on this site are licensed under a Creative Commons - Atribuição 4.0 Internacional.