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A Comprehensive Tempo Analysis of Phrases from Commercial Recordings of the Hummel Trumpet Concerto Using Tempo Maps in Pro Tools

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A Comprehensive Tempo Analysis of Phrases from Commercial Recordings of the Hummel Trumpet Concerto Using Tempo Maps in Pro Tools Finding Interpretations: A Comprehensive Tempo Analysis of Phrases from Commercial Recordings of the Hummel Trumpet Concerto using Tempo Maps in Pro Tools by Marc Lynn Sutton, B.M., M.M. A Doctoral Performance Project In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Andrew Stetson Chair of Committee Dr. Kevin Wass Dr. Lisa Garner Dr. Mark Sheridan Dean of the Graduate School August 2018 Copyright 2018, Marc Lynn Sutton Texas Tech University, Marc Lynn Sutton, August 2018 ACKNOWLEDGEMENTS This project would not have been possible if not for the help of a number of people. First and foremost, I would like to thank my parents. Without them, I would never have made it this far. They are the only ones that have been with me through every high and low that I’ve experienced throughout my life. My parents were my first teachers and coaches. Everything that I have done or learned in life is simply a variation on their lessons. Their encouragement to reach for the stars has taking me to places that I never thought possible. They mean the world to me and I am thankful for them every single day. Next, I would like to thank my mentor and professor, Dr. Stetson. The decision to return to school and begin work on a doctorate was not easy, but now in hindsight, it was exactly what I needed. From our first conversation, Dr. Stetson had me convinced that working together we would be able to accomplish a lot, and that proved to be true. There were a number of opportunities that I know I would not have attempted and ultimately succeeded without his encouragement and guidance. Beyond just his musical and teaching talents, I have begun to greatly admire his other attributes as well. His ability to do the right thing is admirable and inspiring. He is a role model that I will be contacting often in the future seeking his council and advice. Lastly, without the help from my committee, this project would not have been possible. Dr. Stetson, Dr. Wass, and Dr. Garner have been incredibly supportive of me throughout my entire Doctor of Musical Arts degree. They have been an inspiration for me musically, professionally, and academically. Watching them teach and perform and build their respective studios has been a learning experience that I know I will take into my studios. ii Texas Tech University, Marc Lynn Sutton, August 2018 TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................................... ii ABSTRACT ....................................................................................................... iv LIST OF TABLES ............................................................................................. v LIST OF FIGURES .......................................................................................... vi LIST OF EXAMPLES ..................................................................................... vii I. INTRODUCTION ............................................................................................ 1 II. LITERATURE REVIEW ................................................................................ 4 Musicality ........................................................................................................................... 4 Tempo................................................................................................................................ 5 Analytical Tempo Work .................................................................................................. 8 Comprehensive Hummel Work ..................................................................................... 9 III. GUIDE TO CREATING A TEMPO MAP IN PRO TOOLS .................. 11 IV. CORPUS ..................................................................................................... 29 V. EXCEL DATA ENTRY .............................................................................. 35 VI. OBSERVATIONS ...................................................................................... 41 The Highest and Lowest Average BPM ..................................................................... 44 The Most and Least Varied Performances ................................................................. 46 Head to Head Performance Comparisons ................................................................. 47 Average Tempo Change by Beat ................................................................................. 49 Comparison between Full Movements and Excerpts .............................................. 52 VII. CONCLUSION AND NEXT STEPS ....................................................... 55 Next Steps ....................................................................................................................... 56 Final Thoughts ............................................................................................................... 57 BIBLIOGRAPHY ............................................................................................ 59 APPENDICES A. APPENDIX A .............................................................................................. 68 B. APPENDIX B .............................................................................................. 69 iii Texas Tech University, Marc Lynn Sutton, August 2018 ABSTRACT This document examines 37 different commercial recordings of the Hummel Trumpet Concerto’s First Movement by calculating their rhythmic phrasing and tempos using Avid’s Pro Tools to create a tempo map for each performance. By creating a tempo map as described in the step-by-step guide in this paper, each performance can be defined by a series of fluctuations in tempo, both perceptible and imperceptible, that allow a clearer understanding and visual representation that can then be studied, imitated, or compared to other performances. The contents of this document serve two purposes: (1) to describe the complete methodology for creating and plotting tempo data and (2) providing a sample analysis of the Hummel to demonstrate the capabilities of this process. Data collected for this project includes beat-by-beat tempo analysis, mean BPM, standard deviation, tempo change by beat, head-to-head tempo differences between all performers, average tempo by beat for all performers, and average tempo change by beat for all performers. This document addresses the question of how to help a student learn to play with natural musicality. By accurately defining and visualizing a professional’s rhythmic phrasing, a student can develop an understanding of appropriate musical pacing and use this information to create their own personal interpretations. Through studying the Hummel, it has been concluded that although there are many differences between performers, there are certain places in the music where the tempo fluctuations are virtually all in agreement. These locations also reveal a preference for tempo increases on beat 2 and tempo decreases on beats 1 and 4. The results from the data analysis show potential for this type of work to indicate proper performance practice for an analyzed work’s genre and time period. iv Texas Tech University, Marc Lynn Sutton, August 2018 LIST OF TABLES 4.1 List of Performers with year of release or recording ................................... 31-32 5.1 Partial preview of Tempo Data Excel sheet ........................................................ 35 5.2 Partial preview of Standard Deviation and Mean BPM Excel sheet ............... 38 5.3 Partial preview of Beat-by-Beat Tempo Differences, Excerpt A Excel sheet .................................................................................................. 39 6.1 Top 5 Fastest Average Performances, Excerpt A .............................................. 44 6.2 Top 5 Fastest Average Performances, Excerpt B .............................................. 44 6.3 Top 5 Slowest Average Performances, Excerpt A ............................................. 44 6.4 Top 5 Slowest Average Performances, Excerpt B ............................................. 44 6.5 Top 5 Most Varied Performances, Excerpt A .................................................... 46 6.6 Top 5 Most Varied Performances, Excerpt B .................................................... 46 6.7 Top 5 Least Varied Performances, Excerpt A .................................................... 46 6.8 Top 5 Least Varied Performances, Excerpt B .................................................... 46 6.9 Most Similar, Excerpt A, Beat-by-Beat difference ............................................. 48 6.10 Most Similar, Excerpt B, Beat-by-Beat difference ............................................. 48 6.11 Most Different, Excerpt A, Beat-by-Beat difference ......................................... 48 6.12 Most Different, Excerpt B, Beat-by-Beat difference ......................................... 49 6.13 Tempo Data Excel sheet for excerpt from Note Grouping, pg. 120 .................. 50 6.14 Top 10 Tempo Fluctuations, Average, Excerpt A ............................................. 52 6.15 Top 10 Tempo Fluctuations, Average, Excerpt B ............................................. 52 v Texas Tech University, Marc Lynn Sutton, August 2018 LIST OF FIGURES 2.1 Tempo-Curve graph from Musical Interpretation, pg. 63 ........................................ 6 2.2 Average tempo duration chart from “Expressive Asynchrony,” pg. 366 ................................................................................................................
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