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Talk on Musical Interpretation — Visual Tools for Perceived Dynamics and Points of Gravity

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Talk on Musical Interpretation — Visual Tools for Perceived Dynamics and Points of Gravity Talk on Musical Interpretation — Visual Tools for Perceived Dynamics and Points of Gravity Fridell, Ingemar 2009 Link to publication Citation for published version (APA): Fridell, I. (2009). Talk on Musical Interpretation — Visual Tools for Perceived Dynamics and Points of Gravity. Malmö Academy of Music, Lund University. 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LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Publications from the Malmö Academy of Music STUDIES IN MUSIC AND MUSIC EDUCATION NO 13 Talk on Musical Interpretation Visual Tools for Perceived Dynamics and Points of Gravity Ingemar Fridell Talk on Musical Interpretation Visual Tools for Perceived Dynamics and Points of Gravity © Malmö Academy of Music 2009 ISSN 1404-6539 ISBN 978-91-976053-5-9 Publications from the Malmö Academy of Music: STUDIES IN MUSIC AND MUSIC EDUCATION NO 13 Printing: Media-Tryck, Lund University, Lund 2009 This book can be ordered from Malmö Academy of Music Box 8203 SE-200 41 Malmö Sweden Tel: +46-(0)40-32 54 50 Fax: +46-(0)40-32 54 60 E-mail: [email protected] ABSTRACT Title: Talk on Musical Interpretation — Visual Tools for Perceived Dynamics and Points of Gravity Language: English Keywords: Musical interpretation, communication of musical issues, musical experiences, visual illustrations, visual tools, melody phrasing, perceived dynamics, points of gravity Typical for Western classical music is the process of interpreting and conveying a written score into sounding music. However, sometimes the communication of musical issues between musicians may be experienced as aggravating. In educational contexts in a broad sense, it might be advantageous if this communication could be facilitated, for example, by using visual illustrations as a complement to the verbal language. The final aim of the present PhD project is to introduce a further investigation of the relationship between what musicians do when performing classical compositions and how the music will be experienced by listeners familiar with this kind of music. As an indispensable preparative step for this purpose, based on established conventions of melody phrasing, two special visual tools were developed: the Melody Phrasing Curve and a system for notating metrical points of gravity. In two empirical studies, the relevancy of these visual tools, intended to simplify the communication of matters linked to musical interpretation, was tested. This purpose includes the exploration of musical thoughts coming up when the tools are employed by professional musicians as instruments for illustrating their musical experiences. The Melody Phrasing Curve is a continuous line that is drawn by free hand into a special device indicating approximately the experienced dynamical fluctuations within the melody part of a composition. In the two phases of Study A, this phrasing curve was tested from the perspective of music professors listening to classical piano excerpts recorded on audio tape. The results indicate that the visual tool mentioned might be used as an instrument for illustrating the experienced changing dynamics of the melody part, primarily in piano music of a clear homophonic character. In the consecutive Study B, the other visual tool, the system for notating metrical points of gravity, was introduced. This tool was used by four professional musicians, together with the Melody Phrasing Curve, as an aid when preparing performances of three classical piano excerpts, as well as for the purpose of visually illustrating musical aspects of their recorded performances. The study included in-depth-interviews revealing some of the participants’ musical ideas. The results revealed that the participants respected the traditions of classical music, but they were also interested in further exploring the expressive potential of the music, in order to find new interpretative solutions. Moreover, the results indicate that the visual tools employed might be used in educational contexts as triggers for activating musicians’ self-reflection and for developing a bigger awareness when interpreting classical music. Aside from the participants’ diverging drawing styles, the results further support the functionality of the Melody Phrasing Curve as a visual tool for mirroring the experienced dynamical progression of the melody part. Finally, the phrasing curve may be used for the purpose of planning musical interpretations, as well as for illustrating a given performance. iii CONTENTS Page Chapter 1: INTRODUCTION ........................................................................... 1 1.1. Different musical views ....................................................................... 2 1.1.1. Finding a balance between intellect and feelings ................................ 3 1.1.2. Adequate musical knowledge.............................................................. 5 1.1.3. Music as a research field exploring new expressive possibilities ............ 5 1.2. Background of the PhD project .......................................................... 7 1.2.1. Music experienced by human beings ................................................... 8 1.2.2. A PhD project representing a multidisciplinary crossway ...................... 8 1.2.3. Alternative ways of communicating musical interpretative matters ..... 9 1.2.4. Communication of musical matters based on common experiences ...... 10 1.2.5. Definitions ......................................................................................... 11 1.3. Purpose of the PhD project ................................................................. 12 1.4. Disposition of the PhD project ........................................................... 13 Chapter 2: THE MELODY LINE — a Theoretical Investigation 1 ........... 15 2.1. Polyphonic and homophonic approaches ........................................ 16 2.2. Melody regarded as a continuous line.............................................. 17 2.3. Tension and relaxation ........................................................................ 21 2.4. Gravity and energies connecting tones ........................................... 24 2.5. Dynamics ................................................................................................. 25 2.5.1. Dynamics following the melody contour ............................................. 25 2.5.2. Dynamics and emotions ...................................................................... 26 2.6. Breath ....................................................................................................... 27 2.7. Shape of the single tones ................................................................... 27 2.7.1. Intensity ............................................................................................. 27 2.7.2. Performance of shorter and longer notes ............................................ 28 2.7.3. Preparation of single tones ................................................................. 29 2.8. Movements of the music ..................................................................... 30 2.9. Tempo and rhythm ............................................................................... 31 2.10. Summary ................................................................................................ 33 2.11. The Melody Phrasing Curve ............................................................... 35 Chapter 3: POINTS OF GRAVITY — a Theoretical Investigation 2 ....... 39 3.1. Metrical points of gravity ................................................................... 39 3.1.1. Metrical structure of the music ........................................................... 39 3.1.2. Music and language ........................................................................... 41 3.1.3. Meter, rhythm, and points of gravity .................................................. 42 3.1.4. Rhythmic structure of music ................................................................ 43 3.1.5. Potential and performed points of gravity .......................................... 45 3.1.6. Meter and rhythm — an interaction between past and present ........... 47 3.1.7. Interaction between meter and rhythm in an aesthetic view ............... 48 3.1.8. Relativity of the printed score ............................................................. 49 3.1.9. Meter considered as background to the rhythmic course of events ...... 50 3.1.10. A musical balancing act ..................................................................... 51 v 3.1.11. Bringing out the points of gravity ....................................................
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