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UMI MICROFILMED 1989 INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master UMI MICROFILMED 1989 INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 8013704 Minor variations in performance as indicators of musical meter Talley, James Tazewell, Ph.D. The Ohio State University, 1980 Copyright ©1080 by Talley, James Tazewell. All rights reserved. UMI 300 N. Zeeb R4 Ann Aibor, MI 48106 MINOR VARIATIONS IN PERFORMANCE AS INDICATORS OF MUSICAL METER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Tazewell Talley, B.M.E., M.M. The Ohio State University 1989 Dissertation Committee: f\ Approved by David Butler Ann K. Blombach ____________________ A. Peter Costanza Adviser School of Music Copyright by James T. Talley 1989 Acknowledgments ! would like to express my appreciation to Dr. David Butler for his advice and guidance during my study at The Ohio State University. I would like to thank the members of my dissertation committee, Dr. Peter Costanza and Dr. Ann K. Blombach, for their cooperation and comments. Thanks also go to my family and friends, particularly Donna Williams, for their support and patience. Vita 12 March 1956.................................... Bom, Gadsden, Alabama 1978 ............................................... University of Montevallo, Montevallo, Alabama 1980 ..................................................... M.M., University of Montevallo, Montevallo, Alabama 1980-1982 ............................................. Graduate Teaching Associate, The Ohio State University, Columbus, Ohio 1982-1984 ............................................. Graduate Research Associate, The Ohio State University, Columbus, Ohio 1984-Present ....................................... Systems Analyst, Computer-Based Instruction Group, Center for Teaching Excellence, The Ohio State University, Columbus, Ohio Publications Talley, J. T. (1985). Measuring the Performer's Influence on Musical Meter. In G. Turk (Ed.), Proceedings of the Research Symposium on the Psychology and Acoustics of Music, (pp. 137-143). Lawrence, Kansas: University of Kansas. Fields of Study Major Field: Music Theory Minor Field: Computer Programming iii Table of Contents Acknowledgments ................................... ....................................................... ii V ita................................................................................................................... iii List of Tables ..................................................................................................... v i List of Figures ................................................................................................... viii Chapter Page I. Background to the Experiment .......................................................... 1 Definition of Musical Meter .............................................................. 2 Hierarchic Structure of Meter...................................... .,................... 6 Theoretical Base for the Perception of Meter .................................. 9 Empirical Study of Meter Perception ............................................... 12 Empirical Study of Meter Production .............................................. 14 Empirical Study Including Performance and Listening Tests 16 n. Description of the Performance Test ................................................. 22 Stimulus Materials............................................................................... 22 Apparatus............................................................................................ 26 The MIDI Standard ............... 27 Procedure .................................................................................. 31 Performers ......................... 37 m. Performance Test Results and Discussion ........................................ 38 Key Velocity ...................... 39 Observed Duration ............................................................................. 46 Articulation. .............................. 52 IV. Description of the Listening Test ....................................................... 57 Stimulus Materials .............................................................................. 57 iv Apparatus............................................................................................ 61 Proadure ............................................. 61 Listeners............................................................................................... 63 V. Listening Test Results and Discussion ................................................. 65 VI. Summary............................ 78 Appendices A. Graphs of Key Velocity........................................................................ 83 B. Graphs of Observed Duration ............................................................ 88 G Graphs of Articulation ....................................................................... 93 Bibliography ....................................................................................................... 98 v List of Tables Table Page 1 Frequency of observed key velocity for all test melody performances ....................................................................................... 40 2 Results of analyses of variance of key velocity categorized by metric position .................................................................................... 45 3 Means and standard deviations for observed duration categorized by metric position ......................................... 50 4 Results of analyses of variance of duration categorized by metric position ................................................................. 51 5 Means, standard deviations, and ranges of articulation values measured in milliseconds for each performer ............................... 53 6 Means and standard deviations for articulation categorized by metric position ................................................................ 55 7 Results of analyses of variance of articulation categorized by metric position .................................................................................... 56 8 Melodies heard in the listening test ................................................... 58 9 Metronome markings for series of recurring pulses articulated in the stimulus melodies .................. 61 10 Number and academic rank of listeners ................ 64 11 Contingency table comparing test responses with metric position notated for performers ........................................................................ 72 12 Contingency table comparing test responses with metric position notated for performers, isolating notes that changed from beats in the 2/4 notation to downbeats in the 3/4 notation ...................... 74 vi 13 Contingency table comparing test responses with note placement on or off the beat for listeners hearing neutral performances 76 14 Contingency table comparing test responses with note placement on or off the beat for listeners hearing 2/4 performances ............... 76 15 Contingency table comparing test responses with note placement on or off the beat for listeners hearing 3/4 performances ............... 76 vii List of Figures Figure Page 1 First five measures of Mozart's Symphony Number 40 in G Minor ............................................................................................... 7 2 An analysis of the metric structure of the first four measures of Mozart's Symphony Number 40 in G Minor (from Lerdahl & Jackendoff, 1983, pp. 22-23) ............................................................. 8 3 Test Melody 1 in both notations seen by performers ....................... 23 4 Test Melody 2 in both notations seen by performers ........................ 23 5 Test Melody 3 in both notations seen by performers ........................ 24 6 Test Melody 4 in both notations seen
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