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Numerisch-Klassifikatorische Interpretationsanalyse Mit Dem „Bösendorfer Computerflügel“

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Numerisch-Klassifikatorische Interpretationsanalyse Mit Dem „Bösendorfer Computerflügel“ Universität Wien Institut für Musikwissenschaft Numerisch-klassifikatorische Interpretationsanalyse mit dem Bösendorfer Computerflügel Band I (mit beiliegender Audio-CD) Diplomarbeit zur Erlangung des Magister der Philosophie eingereicht an der Geisteswissenschaftlichen Fakultät der Universität Wien von Werner Goebl Wien, am 31. Oktober 1999 -2- Inhalt 1. Vorwort .................................................................................................... 5 Dank.........................................................................................................................................7 ALLGEMEINER TEIL.............................................................................. 8 2. Performance-Forschung.......................................................................... 8 Historische Forschung ................................................................................................ 8 Deutschland ............................................................................................................................... 8 Die Seashore-Gruppe in Iowa ...................................................................................................10 Moderne Forschung ...................................................................................................13 Zeitgestaltung, timing ............................................................................................................... 13 Das Thema von Mozarts A-Dur Sonate, KV 331 ..................................................................13 Bruno Repps Träumerei ..........................................................................................................15 Shaffer und ein präparierter Bechstein-Flügel .............................................................................16 Sloboda 1983 ..........................................................................................................................17 Shaffer & Todd 1987 .............................................................................................................18 Manfred Clynes und die Puls-Theorie.................................................................................... 18 Composer-specific Pulse Microstrusture ......................................................................................19 Die Puls-Theorie im Test ..........................................................................................................20 Numerische Bestimmung des Grundtempos ........................................................................ 22 Akkord-Asynchronizität ........................................................................................................... 22 3. Das Klavier............................................................................................. 27 Funktionsweise der Klaviermechanik ....................................................................... 29 Das Zeit-Verhalten der Klaviermechanik...................................................................31 Hammergeschwindigkeit-Dynamik Relation..............................................................................32 Exkurs: Techniker versus Pianisten .......................................................................... 33 Geräuschanteile im Klavieranschlag ...........................................................................................33 4. Der Computerflügel .............................................................................. 35 Geschichtlicher Abriß zu mechanischen Klavieren .................................................. 35 Das elektrische Klavier .............................................................................................................35 Das Kunstspielklavier ..............................................................................................................36 Das Reproduktionsklavier........................................................................................................36 Moderne computergesteuerte Klaviere ..................................................................... 39 a) Systeme, die im Nachhinein einzubauen sind.........................................................................39 b) Integrierte Systeme ................................................................................................................39 c) Auf der Tastatur zu plazierende Systeme .............................................................................39 d) Systeme, die Teile der Klaviermechanik ersetzen.....................................................................39 Der Pianocorder von Marantz ................................................................................... 39 Der Yamaha MIDI-Flügel ......................................................................................... 40 Der Bösendorfer Computerflügel SE .....................................................................41 Geschichte, Entwicklung ...........................................................................................................41 Aufbau und Funktionsweise .....................................................................................................41 Grenzen des Systems ................................................................................................................44 a) systemimmanente Unterschiede zwischen Einspielung und Reproduktion .......................... 44 b) Unterschiede durch Meß- und Reproduktionsungenauigkeiten........................................... 45 -3- EXPERIMENTELLER TEIL ................................................................. 47 5. Einleitung .............................................................................................. 47 Die Pianisten ............................................................................................................. 48 Versuchsaufbau, Einspielsituation............................................................................ 50 Die Stücke ...................................................................................................................51 Ballade op. 38: musikalische Struktur ......................................................................................52 Etüde op. 10/3: musikalische Struktur ...................................................................................54 6. Auswertung............................................................................................ 55 Datenaufbereitung..................................................................................................... 55 Meßgenauigkeit und Datenexport .............................................................................................55 Zuordnung zu numerischer Partitur ..........................................................................................55 Falsche Noten...........................................................................................................................57 Fehlerquoten der Pianisten ........................................................................................................57 Musikalische Zeitgestaltung und Darstellung ......................................................... 58 Mehrschichtige Tempodarstellung ...............................................................................................58 Interpretation der mehrschichtigen Tempogramme ................................................ 62 Detailebene (Sechzehntelnoten) ..................................................................................................62 Phrasierungsebene (Halbtaktniveau) .........................................................................................63 Errechnung eines Grundtempos ............................................................................... 64 Vorgehensweise .........................................................................................................................64 Tempovergleich Ballade Etüde ...............................................................................................68 Ähnlichkeitstests........................................................................................................ 69 Ähnlichkeiten in der Zeitgestaltung zwischen den Spielern .........................................................69 Ähnlichkeiten in der Dynamik zwischen den Spielern ...............................................................70 Numerisch ermittelte Durchschnittsversion .............................................................71 Berechnung der Durchschnittsversion .........................................................................................71 Ihre subjektive Bedeutung .........................................................................................................72 Akkord-Asynchronizität ............................................................................................ 74 Ausmaß und Form der Akkord-Asynchronizität .....................................................................74 Dynamikdifferenz zwischen den Stimmen .................................................................................77 Ballade: Überbetonung verschiedener Stimmen ...........................................................................78 a) Überbetonung der Melodie ............................................................................................... 78 b) Überbetonung einer Nebenstimme (Stimme 3).................................................................. 79 Velocity Artifact.......................................................................................................................81
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