Optimal feedback correction in string quartet synchronization

Abstract

Control of relative timing is critical in ensemble music performance. We hypothesize that players respond to and correct asynchronies in tone onsets that arise from fluctuations in their individual tempos. We propose a first-order linear phase correction model and demonstrate that optimal performance that minimizes asynchrony variance predicts a specific value for the correction gain. In two separate case studies, two internationally recognized string quartets repeatedly performed a short excerpt from the fourth movement of Haydn's quartet Op. 74 no. 1, with intentional, but unrehearsed, expressive variations in timing. Time series analysis of successive tone onset asynchronies was used to estimate correction gains for all pairs of players. On average, both quartets exhibited near-optimal gain. However, individual gains revealed contrasting patterns of adjustment between some pairs of players. In one quartet, the first violinist exhibited less adjustment to the others compared with their adjustment to her. In the second quartet, the levels of correction by the first violinist matched those exhibited by the others. These correction patterns may be seen as reflecting contrasting strategies of first-violin-led autocracy versus democracy. The time series approach we propose affords a sensitive method for investigating subtle contrasts in music ensemble synchronization.

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Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture

“…In both cases, different methodologies have been used in order to detect, to measure and to compute timing asynchronies. Analysis of the sound signal, either starting from real recordings or from controlled experiments, is by far the most common methodology used (Goebl & Palmer, 2009;Moore & Chen, 2010;Loehr & Palmer, 2011;Marchini et al, 2012;Wing et al, 2014). This method requires one to precisely detect the tone onsets in each part, especially when different instruments are playing together.…”

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