On Determining the Basic Tempo of an Expressive Music Performance
On Determining the Basic Tempo of an Expressive Music Performance
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论确定富有表现力的音乐表演的基本节奏
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发表时间：
1994
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通讯作者：
B. Repp
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作者：
B. Repp
在富有表现力的音乐表演中，当地的节拍围绕一个隐含的(名义上恒定的)基本节拍不断变化，而且往往是不对称的。这项初步研究探索了钢琴家如何围绕预定的基本节拍来组织富有表现力的节拍结构，听众如何判断这样一种调制的演奏的基本节奏，以及预期和/或判断的节奏可能对应于哪些客观可衡量的表演性质。两位钢琴家在节拍器的提示下，以三个预定的节奏分别演奏了罗伯特·舒曼的《Traumerei》三次。随后从本身是钢琴家的听众那里获得了每次演出最初8小节的节奏判断(节拍器设置)。被判断的节奏一般比预期节奏慢，这归因于表演者倾向于演奏慢于预期，特别是在较快的节奏时。根据(原始的或转换的)节拍发作间期(10I)的频率分布来量化每种表演的节拍微观结构。判断出的节拍一般接近这个分布的平均值的倒数(变换对平均节拍影响很小)，因此似乎是最符合表现调制表演的感知拍频的参数，至少在没有极端标准的情况下是这样。
In an expressive music performance, the local tempo varies continuously and often asymmetrically around an implied (nominally constant) basic tempo. This preliminary study explored how pianists organise the expressive timing structure around an intended basic beat rate, how listeners judge the basic tempo of such a modulated performance, and what objectively measurable property of the performances the intended and/or judged tempi might correspond to. Two pianists played Robert Schumann's Traumerei three times at each of three intended tempi cued by a metronome. Tempo judgments (metronome settings) for the initial 8 bars of each performance were subsequently obtained from listeners who were pianists themselves. The judged tempi were generally slower than the intended tempi, which was attributed to a tendency of the performers to play slower than intended, especially at the faster tempi. The timing microstructure of each performance was quantified in terms of the frequency distribution of (raw or transformed) beat inter-onset intervals (1OIs). The judged tempi were generally close to the reciprocal of the mean of this distribution (transformations had little effect on the mean tempo), which thus seems to be the parameter that best corresponds to the perceived beat rate of an expressively modulated performance, at least when there are no extreme ritardandi.