DOCSLIB.ORG

Selected Topics in Tempo Perception and Interpretation4

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Selected Topics in Tempo Perception and Interpretation4 Selected Topics in the Perception and Interpretation of Musical Tempo Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Randolph Burge Johnson, M.A. Graduate Program in Music The Ohio State University 2010 Dissertation Committee: David Huron, Advisor Lora Gingerich Dobos David Clampitt Copyright by Randolph Burge Johnson 2010 Abstract Two studies examined the influence of mental imagery type and instruments’ tone-decay times on tempo fluctuations between repeated rehearsals and performances of musical works. The first experimental study tested the predictions that 1) motor imagery—in contrast to non-motor imagery—would lead to smaller discrepancies between imagined and performed tempos; and 2) musical works having high note density would tend to be slowed down when imagined, whereas works having low note density would tend to be sped up when imagined. The second correlational study tested the prediction that the same work would exhibit significant changes of average tempo when performed on instruments having different tone-decay times. In the first study, musicians performed slow and fast musical excerpts either vocally or on their major instrument. These excerpts were recorded. Then, each participant repeatedly attempted to mentally replicate their excerpts’ tempos by using motor or non-motor imagery. Excerpt beginnings were signaled by three-second prompts from the recordings of each excerpt, and participants indicated excerpt endings by ringing a call bell. Excerpt duration discrepancies were calculated by subtracting the performed excerpt length from the imagined excerpt length. The results did not yield support for either of our hypotheses. There was no significant difference of tempo discrepancies ii when using motor versus non-motor imagery; and there was no significant main effect of variable note density on tempo discrepancies. Post hoc analyses suggested that successive mental rehearsals might lead to smaller and less variable tempo discrepancies across musicians of diverse skill levels. Other post hoc analyses suggested that repeated practice attempts might improve or at least maintain tempo accuracy, except in music exhibiting low note density—below approximately 1.5 notes-per-second. However, musicians do not seem to have immediate conscious access to the gains or losses of tempo accuracy in mental practice. The second part of the study analyzed the effect of instrument tone-decay time on average-tempo differences among repeated recorded performances of North-American Folk music and Western-Classical music. Recordings were paired in such a way that each piece was represented by performances on two (banjo and guitar) or three similar instruments (harpsichord, fortepiano, and piano). Varying tone-decay time comprised one salient difference within each instrument group. The results failed to support our prediction regarding tone-decay length and tempo differences. There was no significant difference of a work’s average tempo when it was performed on different instruments. Post hoc analyses of the folk songs showed that rhythmic speed was higher in performances on banjo than on guitar. This suggests that works not having a definitive version, as in a musical score, might exhibit faster rhythms when performed on instruments with shorter tone-decay times. iii Dedication This document is dedicated to my wife, Lia. iv Acknowledgments I would like to thank my advisor, David Huron, for his guidance with this and other lines of research. I also am very appreciative for the support from my other committee members: Lora Dobos and David Clampitt—many thanks to all of you, and to the whole Music Department at Ohio State. v Vita 2004................................................................B.S.O.F. Music Performance; Psychology, Indiana University 2007................................................................M.A. Music Theory, Ohio State University 2005-09 .........................................................Graduate Teaching Associate, Department of Music, Ohio State University Publications Huron, D., Dahl, S., & Johnson, R. (2009). Facial expression and vocal pitch height: Evidence of an intermodal association. Empirical Musicology Review 4(3): 93- 100. Fields of Study Major Field: Music vi Table of Contents Abstract............................................................................................................................... ii List of Tables ..................................................................................................................... xi List of Figures..................................................................................................................xiii Study One – Musical Tempo Stability in Mental Practice: A Comparison of Motor and Non-Motor Imagery Techniques......................................................................................... 1 Introduction ..................................................................................................................... 2 Considerations of Tempo............................................................................................. 3 Background ..................................................................................................................... 6 Hypotheses .................................................................................................................... 11 Method .......................................................................................................................... 16 Participants ................................................................................................................ 16 Materials and Procedure ............................................................................................ 16 Results ........................................................................................................................... 23 Tests of Hypothesis One – “Mental Practice Type”.................................................. 29 Tests of Hypothesis Two – “Tempo Flux”................................................................ 35 vii Post Hoc Hypotheses................................................................................................. 37 Summary of Results .................................................................................................. 43 Discussion ..................................................................................................................... 46 Conclusion..................................................................................................................... 52 Summary.................................................................................................................... 52 Future Directions ....................................................................................................... 54 Study Two – The Effect of Tone-Decay Time on Tempo: Two Comparative Studies of Banjo/Guitar and Fortepiano/Harpsichord/Piano ............................................................. 61 Introduction ................................................................................................................... 62 Background ................................................................................................................... 65 Theories of the Effects of Hall-Decay Time on Tempo ............................................ 65 Evidence from Live Performances: A Re-Analysis of Winckel (1962).................... 68 Laboratory Evidence.................................................................................................. 74 Instrument-Related Tempo Effects............................................................................ 75 Study Overview ......................................................................................................... 77 Method Overview...................................................................................................... 77 Analytic Sample Overview........................................................................................ 78 Part 1 – Banjo and Guitar.............................................................................................. 79 Introduction ............................................................................................................... 79 viii Population.................................................................................................................. 81 Sampling.................................................................................................................... 81 Tempo Data Collection.............................................................................................. 83 Results ....................................................................................................................... 84 Discussion.................................................................................................................. 87 Part II – Banjo/Guitar Post Hoc Hypothesis ................................................................. 88 Introduction ............................................................................................................... 88 Sampling.................................................................................................................... 88 Method......................................................................................................................
Load more

Recommended publications
  • Oral History T-0001 Interviewees: Chick Finney and Martin Luther Mackay Interviewer: Irene Cortinovis Jazzman Project April 6, 1971
    ORAL HISTORY T-0001 INTERVIEWEES: CHICK FINNEY AND MARTIN LUTHER MACKAY INTERVIEWER: IRENE CORTINOVIS JAZZMAN PROJECT APRIL 6, 1971 This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. Today is April 6, 1971 and this is Irene Cortinovis of the Archives of the University of Missouri. I have with me today Mr. Chick Finney and Mr. Martin L. MacKay who have agreed to make a tape recording with me for our Oral History Section. They are musicians from St. Louis of long standing and we are going to talk today about their early lives and also about their experiences on the music scene in St. Louis. CORTINOVIS: First, I'll ask you a few questions, gentlemen. Did you ever play on any of the Mississippi riverboats, the J.S, The St. Paul or the President? FINNEY: I never did play on any of those name boats, any of those that you just named, Mrs. Cortinovis, but I was a member of the St. Louis Crackerjacks and we played on kind of an unknown boat that went down the river to Cincinnati and parts of Kentucky. But I just can't think of the name of the boat, because it was a small boat. Do you need the name of the boat? CORTINOVIS: No. I don't need the name of the boat. FINNEY: Mrs. Cortinovis, this is Martin McKay who is a name drummer who played with all the big bands from Count Basie to Duke Ellington.
    [Show full text]
  • ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
    ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning.
    [Show full text]
  • Senior Focus: Mary Ann Erickson
    Vol. 21 No. 3 • Fall 2016 www.tclifelong.org Senior Circle www.tompkinscounty.org/cofa A circle is a group of people in which everyone has a front seat. same time, we are still challenged Senior Focus: Mary Ann Erickson by many of the same issues that Gerontologist and the New Board President of Lifelong aging humans have always faced like declines in health and losses in our social network. I think it’s sometimes hard for us Baby Mary Ann Erickson became the new President of was a pivotal time for me, as I was Boomers to walk the line between the Board of Lifelong at the end of May. Recently involved with this research at every overconfident optimism about aging we had the opportunity to ask her a few questions stage, from developing the interview and unwarranted pessimism. We about her connection to Lifelong and her interest instrument to entering and using the need to prepare for both the in gerontology. data. I did some of the interviews possibilities and the challenges.” for this study, some of which I This is Mary Ann’s sixth year on the board having Any advice for the sandwich been recommended by colleagues from Ithaca remember quite clearly more than 10 years later. I used the Retirement generation? “Most of my peers are College’s Gerontology Institute. Mary Ann is an in this group, caring both for and Well-Being Study data for my Mary Ann Erickson, Associate Professor and Chair, Gerontology children and for aging dissertation.” Lifelong Board President Faculty, Planned Studies Program.
    [Show full text]
  • View of the Related Literature
    72-4684 WALLDREN, Allan Wade, 1934- THE DEVELOPMENT OF AN INSTRUMENT TO ANALYZE STUDENT QUESTIONS DURING PROBLEM SOLVING. The Ohio State University, Ph.D., 1971 Education, general University Microfilms, A XEROX Company, Ann Arbor, Michigan Copyright by Allan Wade Walldren 1971 THE DEVELOPMENT OF AN INSTRUMENT TO ANALYZE STUDENT QUESTIONS DURING PROBLEM SOLVING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Allan Wade Walldren, B.S., M.A.T * * it it it The Ohio State University 1971 Approved by ’~”1 Adviser Faculty■ of Curriculu and Foundations PLEASE NOTE: Some Pages have indistinct p rin t. Filmed as received. UNIVERSITY MICROFILMS ACKNOWLEDGEMENTS As author of this study I wish to publicly acknowledge and thank several people for their assistance, guidance and support in this investigation. First and foremost is Louise, my wife, who shared equally in all of the rigors and frustra­ tions of this investigation. She has been sounding board and colleague, critical editor and typist, and most of all an understanding and sensitive friend. I also wish to acknowledge Dr. Charles M. Galloway, who not only supported the study and assisted in its design, but also encouraged me to bring my past experiences into a new focus and to report them in a style that was comfortable. Dr. Paul R. Klohr not only supported the study but sensitively encouraged the investigator at the most appro­ priate times. Constructive criticism was always blended with a twinkle of humor. Both the study and the investigator were significantly strengthened by Dr.
    [Show full text]
  • Music in Theory and Practice
    CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use.
    [Show full text]
  • *Tempo Music V. Famous Music Corp.[ED] 838 F. Supp
    Tempo Music v. Famous Music Corp. Tempo Music v. Famous Music Corp. 838 F. Supp. 162 (SDNY 1993) Third-party plaintiffs, Famous Music Corporation and Mercer Ellington (collectively "the Ellington Estate"), filed a third-party complaint against third-party defendant, Gregory A. Morris, executor of the Billy Strayhorn estate ("the Strayhorn Estate") claiming copyright ownership of and entitlement to royalties from particular versions of the jazz classic, Satin Doll. Settlement has been reached on many of the other claims in this litigation.. .. In cross-motions for summary judgment, the parties have asked the Court to resolve an issue of first impression: whether a harmony added to an earlier work can, as a matter of law, be the subject of copyright. The Strayhorn Estate moves for partial summary judgment, seeking an order declaring that Strayhorn's heirs are entitled to one-third of all royalties and other compensation paid, payable and to become payable with respect to the harmony and revised melody. The Ellington Estate cross-moves, seeking an order declaring that as a matter of law, the Strayhorn Estate does not have any interest in any version of Satin Doll when used or performed without the lyrics. .For the reasons stated below, each of the motions is denied. BACKGROUND At the center of this controversy between the heirs of two of American's most well-known composers is the harmony and revised melody of the jazz standard, Satin Doll, as embodied in two particular versions of the work, copyrighted in 1958 and 1960. Four separate embodiments of Satin Doll define the boundaries of the dispute.
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • Check List for Generating the Audition Pianist's Lead Sheets
    Check list for generating the audition pianist’s lead sheets If you’re completely new to the idea of a ‘lead sheet’ – check this reference here https://en.wikipedia.org/wiki/Lead_sheet Here’s what we expect you to check before your audition Make sure the piano parts you provide are written at concert pitch, are legible, with clear directions! Key signature: Are you using a key signature (or is the piece in an open key signature with accidentals written as they occur)? If you are using a key signature, write it on every stave (not just the first). Staves and clefs: Does the piano part need two staves (Are there lines for the left hand to add, in which case are the correct clefs written at the beginning of each line) or is the lead sheet just using a single stave that gives the melody line, with the symbols for each of the accompanying chord written above the stave? Time Signature: Is the Time signature given at the beginning of the piece? 1 Tempo and feel: Is the tempo marking and type of feel given at the beginning of the piece? Are the quavers (eighth notes) swung or straight? Structure and form Is the overall form and structure of the piece to be performance clearly outlined on the part? Is there an introduction (If so give this the heading “intro”)? Is there an outro (If so give this the heading “outro”)? Is there a solo section (If so give this the heading “solo section”)? Bar numbers and rehearsal letters: We recommend you write the bar number at the beginning of each stave and rehearsal letters at the beginning of each new section, so that you and the pianist can locate specific places with ease while rehearsing.
    [Show full text]
  • 06.22.21 Approved Minutes
    MINUTES OF THE BUCKSKIN FIRE DEPARTMENT DISTRICT FIRE BOARD 06/22/21-Open Meeting: Minutes to be approved at open public meeting on Tuesday, 07/20/2021. A Budget Workshop and Public Hearing of the Buckskin Fire Board convened on June 22, 2021, that started at 6:00 pm in the classroom of the Buckskin Fire District, located at: 8500 Riverside Drive, Parker, AZ 85344 that convened at 6:00 pm. The following matters were discussed at the Open Meeting Public Hearing 1. Call to Order: Budget Hearing open at 6:00 pm 2. Roll Call. Members Present: Chairman Jeff Daniel, Don Rountree, John Mihelich, Jeff McCormack, and Wayne Posey. Staff Present: Chief Maloney, Barbara Cole, Captain Weatherford, Captain Chambers, Lt. Fernandes, FF Maxwell, and FF Anderson. Public Present: Amanda Weatherford 3. (Discussion): Open to the Public for Comments. No Comments from the Public 4. Adjourn: Budget Hearing Closed: Public Budget Hearing closed at 6:02 pm Agenda Open Meeting 5. Convene into Open Meeting: 6:03 pm 6. Call to the Public. Consideration and discussion of comments from the public. Those wishing to address the Buckskin Fire District Board need not request permission in advance Pursuant to A.R.S. § 38-431.01(G), the Fire District Board is not permitted to discuss or take any action on items raised in the call to the public that is not specifically identified on the Agenda. However, individual Board members may be permitted to respond to criticism directed to them. Otherwise, the Board may direct that staff review the matter or ask that the matter be placed on a future agenda.
    [Show full text]
  • Examples on Improvisation
    EXAMPLES ON IMPROVISATION APPLICATIONS OF IMPROCHART CONTENTS 2 Introduction Improvisation – Ballad Score (Lead Sheet) Improvisation Phases Scales for Improvising Development of the Solo Improvisation – Bolero © 2010 www.harmonicwheel.com INTRODUCTION 3 Improvisation generally consists in creating a Melody suitable for a given Chord Progression. On each chord, the melody is composed, in most cases, by notes of a Scale related to the chord. Logically, the scales related to a given chord are those containing the notes of the chord. TM IMPROCHART is an Improvisation Chart that automatically gives us all the scales related to a given chord. © 2010 www.harmonicwheel.com IMPROVISATION – BALLAD 4 Next, the score (lead sheet) of a Jazz Ballad is shown, on which we want to perform an improvisation. (You can listen to this piece by clicking on the “loudspeaker” symbol). The song consists of 4 phrases, each one having 8 bars. Phrases 1, 2 and 4 are very similar. Phrase 3 is different. If we represent each phrase by a letter, we will say that this song has the AABA form. AABA is one of most common forms in Jazz Standards. Part B is called the “bridge”. © 2010 www.harmonicwheel.com SCORE (LEAD SHEET) 5 A A © 2010 www.harmonicwheel.com SCORE (LEAD SHEET) 6 B A © 2010 www.harmonicwheel.com IMPROVISATION PHASES 7 In order to improvise on this song, we have to mentally remove the melody and keep just the chords. That is, we begin with a score like the one shown in the following two slides. For those people not knowing how to read music, a simplified score is included after them.
    [Show full text]
  • August-September
    Portland Peace Choir Newsletter Volume 2 No. 8, August/September 2017 PEAA VolunteCer Effort Eof the PoMrtland PeaEce ChoirAL TMhIeS PSoIOrtlNan Sd TPAeTacEe MChEoNir T strives to exemplify the principles of peace, Meet Our New equality, justice, It’s been an interesting summer for the stewardship of the Earth, DPortlainrd ePeace Cthooir, wr ith one change after unity and cooperation. another looming and forcing us out of our We sing music from comfort zone. We’re starting our new sea - diverse cultures and son off with a new director, in a new loca - traditions to inspire peace tion, and we will be singing music chosen in ourselves, our families, in a new way. our communities, and the world. We were all a bit uneasy about the prospect of finding a new director, but the search, interviewing, auditioning and selection processes all went surprisingly smoothly and we In This Issue were able to find a very talented and capable Director to lead us into the future with energy, optimism and enthusiasm. • Meet Our New Director! • Where In the World is the Kristin Gordon George is a musician, teacher, and the Artistic Di - rector of Resonate Choral Arts, an intergenerational womens’ choir. PPC? She also served as Music Director of the Metropolitan Community • Ready ... Set ... Sing! Church of Portland for nine years, where she directed the choir and • Beat the Heat band and arranged musical works for large group ensembles. She’s been writing music since childhood, and her repertoire now in - cludes contemporary songs, musical theater, cantatas and award- winning choral music.
    [Show full text]
  • Workshop Descriptions Friday February 5 & 6, 2021
    Workshop Descriptions Friday February 5 & 6, 2021 Organized Alphebetically by Instructor Abbreviations: HD=Hammered Dulcimer, MD=Mountain Dulcimer, BP=Bowed Psaltery, AH=Autoharp, PW=Penny Whistle, UK=Ukulele, MA=Mandolin, G= Guitar, CB+Clawhammer Banjo, FI=Fiddle Time is shown: Day (F=Friday, S=Saturday)-Session Number ex: Saturday Session 4 = S-4 Levels:1 = Absolute Beginner 2 = Novice 3 = Intermediate 4 = Upper Intermediate 5 = Advanced All = Non-Level Specific Title Inst. Lvl. Time Description Karen Alley As hammered dulcimer players, we often get wrapped up in notes and chords and tunes, and How to Hold Your forget about our hammers! The easiest time to start learning solid hammer technique is when you’re Hammers (and Use HD 1 F-3 first beginning. We’ll talk about different types of hammers, holding your hammers, and getting a Them, Too!) good sound out of your instrument. You’ll leave with exercises and concepts to help you build a solid foundation for your hammer technique. Someday soon we will be playing together again, and everyone will want to join in! Jam sessions Surviving a Jam can be intimidating if you’re new to the dulcimer (and even if you’re not!), but they don’t need to HD 2 F-4 Session be. We’ll talk about how jam sessions work, and work on simple melody and chord techniques you can use to join in even if you don’t know the tune. This class will help you move beyond playing single melody lines to building full solo arrangements on your dulcimer.
    [Show full text]