"Stolen Time: The History of Tempo Rubato." By Richard Hudson.

Hudson, Barton

doi:10.5642/perfpr.199609.02.07

Cited by 17 publications

(24 citation statements)

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“…These values can express meaningful differences in the performances, and suggest well the degree of expressive freedom taken by the performer in question over time. The tendencies observed so far fit well into the picture drawn by Hudson (1997) and Philip (1992), who have also observed that while tempo modifications were a pervasive feature in the second half of the 19th century, their presence decreased meaningfully in the 20th century.…”

Section: The Phonographic Evidencesupporting

confidence: 66%

Expressive Tempo Modifications in Adelina Patti's Recordings: An Integrated Approach

Zicari

2017

EMR

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This paper explores the extent of expressive tempo modifications as a function of textual content in four operatic arias recorded by Adelina Patti between 1905 and 1906. Their analysis made it possible to determine to what extent significant tempo modifications coincide with those moments in the music, in which special emphasis is demanded by the lyrics. A twofold approach was adopted: the paradigms of historical musicology provided the conceptual tools necessary to define the context, reconstruct the vocal practice, and understand the relationship between the lyrics and the compositional solutions underpinning them; the degree of tempo variability for each aria was determined by empirically measuring the crotchet beat lengths and by calculating the value of mean, mode, standard deviation and coefficient of variation. Results show that Patti's renditions of the four arias present tempo modifications which are instrumental to the expression of their dramatic content, as recommended by the singing methods and treatises which appeared in the course of the nineteenth century. Most crucially, they challenge the assumption that interpreters trained in the late romantic culture abused the composer's intentions and indulged in tasteless, exaggerated interpretive choices.

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Section: The Phonographic Evidencesupporting

confidence: 66%

Expressive Tempo Modifications in Adelina Patti's Recordings: An Integrated Approach

Zicari

2017

EMR

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“…Moreover, pieces with chordal texture were more synchronous than pieces with melodic textures. Subsequent analyses focussed on specific kinds of between-hand asynchronies: bass anticipations and occurrences of "tempo rubato in the earlier meaning" (Hudson, 1994).…”

Section: Between-hand Asynchroniesmentioning

confidence: 99%

The Magaloff Project: An Interim Report

Flossmann

Goebl

Grachten

et al. 2010

Journal of New Music Research

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One of the main difficulties in studying expression in musical performance is the acquisition of data. While audio recordings abound, automatically extracting precise information related to timing, dynamics, and articulation is still not possible at the level of precision required for large-scale music performance studies. In 1989, the Russian pianist Nikita Magaloff performed essentially the entire works for solo piano by Frédéric Chopin on a Bösendorfer SE, a computer-controlled grand piano that precisely measures every key and pedal action by the performer. In this paper, we describe the process and the tools for the preparation of this collection, which comprises hundreds of thousands of notes. We then move on to presenting the results of initial exploratory studies of the expressive content of the data, specifically effects of performer age, performance errors, between-hand asynchronies, and tempo rubato. We also report preliminary results of a systematic study of the shaping of particular rhythmic passages, using the notion of phase-plane trajectories. Finally, we briefly describe how the Magaloff data were used to train a performance rendering system that won the 2008 Rencon International Performance Rendering Contest.

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“…A considerable number of theories on the use of expressive timing in music performance make predictions on the final ritardandi (or "final ritard"), that is, the typical slowing down at the end of a music performance, especially in music from the Western Baroque and Romantic periods (Hudson, 1996). This characteristic slowing down can also be observed in, for instance, Javanese gamelan music and some pop and jazz genres.…”

Section: Modeling the Final Ritardmentioning

confidence: 99%

Computational Modeling of Music Cognition: A Case Study on Model Selection

Honing¹

2006

Music Perception

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. of evaluating a computational model is to see whether it shows a good fit with the empirical data, recent literature on theory testing and model selection criticizes the assumption that this is actually strong evidence for the validity of a model. This article presents a case study from music cognition (modeling the ritardandi in music performance) and compares two families of computational models (kinematic and perceptual) using three different model selection criteria: goodness-of-fit, model simplicity, and the degree of surprise in the predictions. In the light of what counts as strong evidence for a model's validitynamely that it makes limited range, nonsmooth, and relatively surprising predictions-the perception-based model is preferred over the kinematic model. October 11, 2004, accepted November 7, 2005 University of California Press Received

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"Stolen Time: The History of Tempo Rubato." By Richard Hudson.

Cited by 17 publications

References 0 publications

Expressive Tempo Modifications in Adelina Patti's Recordings: An Integrated Approach

Expressive Tempo Modifications in Adelina Patti's Recordings: An Integrated Approach

The Magaloff Project: An Interim Report

Computational Modeling of Music Cognition: A Case Study on Model Selection

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