Abstracts
Abstract
After a brief introduction to the field of empirical performance studies and its goals and methods, recordings of the titular work by pianists Harold Bauer, Glenn Gould, and Angela Hewitt are discussed. It is suggested that these recordings demonstrate three distinct performance strategies for the piece: Bauer highlights the boundaries of each phrase and projects a teleological design within each phrase and at the level of the entire piece; Gould conveys an arch-shaped design tied to harmonic tension; and Hewitt draws attention not only to the three structural cadences (mm. 7, 15, and 22) but also to a subsidiary V-I motion at m. 11, thereby hinting that it might have structural importance. Parallels between these performance strategies and analyses by Howard Cinnamon, Steve Larson, and Roy Travis are briefly considered. The emphasis on multiplicity in this study distinguishes it from most earlier scholarship on structure and performance.
Résumé
Après une brève introduction au domaine des études d’interprétation empirique et à ses objectifs, l’auteur traite d’enregistrements de l’oeuvre mentionnée dans le titre par les pianistes Harold Bauer, Glenn Gould et Angela Hewitt. Il soutient que ces enregistrements témoignent de trois stratégies d’interprétation distinctes de l’oeuvre : Bauer fait ressortir les limites de chaque phrase et projette une conception téléologique au sein de celle-ci et à l’échelle de l’oeuvre dans son ensemble, Gould adopte une conception en forme d’arche liée à la tension harmonique, tandis que Hewitt attire l’attention non seulement sur les trois cadences structurelles (aux 7e, 15e et 22e measure), mais aussi à un mouvement subsidiaire V–I à la 11 measure, faisant ainsi allusion à son importance structurelle possible. L’auteur établit brièvement des parallèles entre ces stratégies d’interprétation et des analyses de Howard Cinnamon, de Steve Larson et de Roy Travis. L’accent sur la multiplicité distingue la présente étude de la plupart des ouvrages précédents sur la structure et l’interprétation.
Download the article in PDF to read it.
Download
Appendices
Biographical note
Alan Dodson is associate professor of music theory at the University of British Columbia, where he has taught since 2005. His research on relationships between rhythmic structure and performance expression in recordings of tonal music has been supported by a grant from the Social Sciences and Humanities Research Council of Canada, and has been published in the Journal of Music Theory, Music Analysis, Music Performance Research, Music Theory Spectrum, and Music Theory Online. He completed the PhD in music at the University of Western Ontario and a Killam Postdoctoral Fellowship at the University of Alberta before taking up his appointment at UBC.
Bibliography
- Aikin, Jim. 1980. “Glenn Gould.” Contemporary Keyboard 6 (8): 24–28, 30–32, 36.
- Barolsky, Daniel. 2008. “Embracing Imperfection in Benno Moiseiwitsch’s Prelude to Chopin.” Music Performance Research 2: 48–60.
- Bazzana, Kevin. 1997. Glenn Gould: The Performer in the Work. Oxford: Clarendon.
- Cadwallader, Allen C., and David Gagné. 2007. Analysis of Tonal Music: A Schenkerian Approach. Oxford: Oxford University Press.
- Caplin, William. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.
- Cinnamon, Howard. 1983. “Durational Reduction and Bach’s C-Major Invention: An Alternative View.” In Theory Only 7 (4): 25–35.
- Clarke, Eric. 1988. “Generative Principles in Music Performance.” In Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, ed. John Sloboda, 1–26. Oxford: Clarendon.
- Clarke, Eric. 2004. “Empirical Methods in the Study of Performance.” In Empirical Musicology: Aims, Methods, Prospects, ed. Eric Clarke and Nicholas Cook, 77–102. Oxford: Oxford University Press.
- Cook, Nicolas, and Daniel Leech-Wilkinson. 2009. A Musicologist’s Guide to Sonic Visualiser. London: Centre for the History and Analysis of Recorded Music. http://www.charm.rhul.ac.uk/analysing/p9_1.html.
- Dixon, Simon. 2001. “Automatic Extraction of Tempo and Beat from Expressive Performances.” Journal of New Music Research 30: 39–58.
- Dodson, Alan. 2002. “Performance and Hypermetric Transformation: An Extension of the Lerdahl-Jackendoff Theory.” Music Theory Online 8 (1).
- Dodson, Alan. 2008. “Performance, Grouping and Schenkerian Alternative Readings in Some Passages from Beethoven’s ‘Lebewohl’ Sonata.” Music Analysis 27: 107–34.
- Dodson, Alan. 2009. “Metrical Dissonance and Directed Motion in Paderewski’s Recordings of Chopin’s Mazurkas.” Journal of Music Theory 53 (1): 57–94.
- Dodson, Alan. 2011. “Expressive Timing in Expanded Phrases: An Empirical Study on Recordings of Three Chopin Preludes.” Music Performance Research 4: 2–29.
- Dodson, Alan. 2012. “Solutions to the ‘Great Nineteenth-Century Rhythm Problem’ in Horowitz’s Recording of the Theme from Schumann’s Kreisleriana, Op. 16, No. 2.” Music Theory Online 18 (1).
- Fabian, Dorottya. 2003. Bach Performance Practice, 1945–1975: A Comprehensive Review of Sound Recordings and Literature. Aldershot: Ashgate.
- Friberg, Anders, Roberto Bresin, and Johan Sundberg. 2006. “Overview of the KTH Rule System for Musical Performance.” Advances in Cognitive Psychology 2 (2–3): 145–61.
- Gabrielsson, Alf. 1999. “The Performance of Music.” In The Psychology of Music, 2nd ed., ed. Diana Deutsch, 501–602. San Diego: Academic.
- Dodson, Alan. 2003. “Music Performance Research at the Millennium.” Psychology of Music 31: 221–72.
- Halpern, A. R., and C. I. Darwin. 1982. “Duration Discrimination in a Series of Rhythmic Events.” Perception and Psychophysics 31: 86–89.
- Hamilton, Kenneth. 2008. After the Golden Age: Romantic Pianism and Modern Performance. Oxford: Oxford University Press.
- Higgins, Kathleen Marie. 1997. “Musical Idiosyncrasy and Perspectival Listening.” In Music and Meaning, ed. Jenefer Robinson, 83–102. Ithaca: Cornell University Press.
- Hudson, Richard. 1994. Stolen Time: The History of Tempo Rubato. Oxford: Clarendon.
- Larson, Steve. 1983. “On Analysis and Performance: The Contribution of Durational Reduction to the Performance of J. S. Bach’s Two-Part Invention in C Major.” In Theory Only 7 (1): 31–45.
- Leech-Wilkinson, Daniel. 2009. The Changing Sound of Music: Approaches to Studying Recorded Musical Performances. London: Centre for the History and Analysis of Recorded Music. http://www.charm.rhul.ac.uk/studies/chapters/intro.html.
- Lerdahl, Fred, and Ray Jackendoff. 1983. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press.
- Lester, Joel. 1992. Review of Musical Structure and Performance, by Wallace Berry. Music Theory Spectrum 14 (1): 75–81.
- Lester, Joel. 1995. “Performance and Analysis: Interaction and Interpretation.” In The Practice of Performance: Studies in Musical Interpretation, ed. John Rink, 197–216. Cambridge: Cambridge University Press.
- Lewin, David. 1968. “Behind the Beyond: A Response to Edward T. Cone.” Perspectives of New Music 7: 59–69.
- Lewin, David. 1986, “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3: 327–92.
- Lipscomb, Scott D., and Donald A. Hodges. 1996. “Hearing and Music Perception.” In Handbook of Music Psychology, ed. Donald A. Hodges, 83–132. San Antonio, TX: IMR.
- Lussy, M. 1892. Musical Expression: Accents, Nuances, and Tempo, in Vocal and Instrumental Music, trans. M. E. von Glehn. London: Novello.
- Myers, Kurtz. 1978. Index to Record Reviews: Based on Material Originally Published in Notes, the Quarterly Journal of the Music Library Association, between 1949 and 1977. Boston: G. K. Hall.
- Palmer, Caroline. 1989. “Mapping Musical Thought to Musical Performance.” Journal of Experimental Psychology: Human Perception and Performance 15 (2): 331–46.
- Philip, Robert. 1992. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900–1950. Cambridge: Cambridge University Press.
- Ratz, Erwin. 1973a. Einführung in die musikalischen Formenlehre: Über Formprinzipien in den Inventionen und Fugen J. S. Bachs und ihre Bedeutung für die Kompositions-technik Beethovens. 3d ed., enlarged. Vienna: Universal.
- Ratz, Erwin. 1973b. “The Formal Principles,” trans. Eugene Hartzell. In J. S. Bach, Inventionen und Sinfonien (2- und 3-stimmige Inventionen) (BWV 772–801), ed. Erwin Ratz and Karl Heinz Füssl, 131–36. Vienna: Wiener Urtext.
- Repp, Bruno H. 1994. “On Determining the Basic Tempo of an Expressive Music Performance.” Psychology of Music 22: 157–67.
- Repp, Bruno H. 1998a. “The Detectability of Local Deviations from a Typical Expressive Timing Pattern.” Music Perception 15: 265–90.
- Repp, Bruno H. 1998b. “A Microcosm of Musical Expression: I. Quantitative Analysis of Timing Microstructure in the Initial Measures of Chopin’s Etude in E major.” Journal of the Acoustical Society of America 104: 1085–1100.
- Repp, Bruno H. 1999a. “Detecting Deviations from Metronomic Timing in Music: Effects of Perceptual Structure on the Mental Timekeeper.” Perception and Psychophysics 61: 529–48.
- Repp, Bruno H. 1999b. “A Microcosm of Musical Expression: II. Quantitative Analysis of Pianists’ Dynamics in the Initial Measures of Chopin’s Etude in E Major.” Journal of the Acoustical Society of America 105: 1972–88.
- Schenker, Heinrich. n.d. Unpublished analytical sketch of J. S. Bach’s Invention No. 1 in C Major, item 8, file 68, Oster Collection, New York Public Library.
- Seashore, Carl E., ed. 1936. Objective Analysis of Musical Performance. Iowa City: University [of Iowa] Press.
- Seashore, Carl E. 1947. “Principles of Deviation from the Regular.” In In Search of Beauty in Music: A Scientific Report, 71–81. New York: Ronald.
- Todd, Neil P. McAngus. 1985. “A Model of Expressive Timing in Tonal Music.” Music Perception 3: 33–58.
- Travis, Roy. 1976. “J. S. Bach, Invention No. 1 in C Major: Reduction and Graph.” In Theory Only 2 (7): 3–7.
- Urista, Diane. 2007. “Chopin’s Prelude in C Major Revisited: Integrating Sound and Symbol.” Music Theory Online 13 (1).
- Widmer, Gerhard, and Werner Goebl. 2004. “Computational Models of Expressive Music Performance: The State of the Art.” Journal of New Music Research 33: 203–16.
- Zwicker, Eberhard, and Hugo Fastl. 1999. “Just-Noticeable Sound Changes.” In Psychoacoustics: Facts and Models, 2d ed., 175–201. Berlin: Springer-Verlag.
- For the sake of simplicity, only one date is provided per recording. Where known, the date of recording is used. In cases where no date is printed on the disc or disc jacket, an estimated date of issue is provided in brackets, based mainly on the date of the earliest North American record review (as cited in Myers 1978).
- Bacchetti, Andrea. Rec. 2008. Dynamic CDS629. Compact disc.
- Balogh, Erno. [1945]. Asch set 102. 78 rpm record.
- Balogh, Erno. [1950]. Lyrichord 1. LP record.
- Bauer, Harold. Rec. 1921. Nimbus Records NI 8808. Compact disc reissue.
- Borovsky, Alexander. [1958]. Vox PL 10550. LP record.
- Friskin, James. [1954]. Bach Guild BG-545. LP record.
- Gould, Glenn. Rec. 1964. Sony Classics 82876–78766–2. Compact disc reissue.
- Hewitt, Angela. Rec. 1994. Hyperion CDA66746. Compact disc.
- Serkin, Peter. Rec. 1995. RCA Victor Red Seal 09026–68594–2. Compact disc.
- Tureck, Rosalyn. Rec. 1979. Sony Classical SB2K 63231 63232. Compact disc reissue.