The Case of Compensating Rubato

Abstract

Rubato has for centuries been linked with the idea of compensating tempo modulation. Despite the wealth of references to this idea in writings by famous performers and teachers over the ages, scholars investigating the idea have so far emphatically dismissed the notion as a myth, or at best a rationalization. In this article, I take as a starting-point these performers' writings, and show that it is scholars rather than performers who have reduced the idea of compensation to an abstract principle. Using Debussy's 1913 piano-roll recordings as examples, I show with the aid of empirical timing data and close listening that compensating rubato is far from a myth in the performance practice of the early twentieth century.

An Analysis of Artistic form and Musical Perspective of Romantic Era Music

“…There is the lack of references that explain the style of classical music performance from a performer's point of view. In this case, we agree with Martin (2002) that theorizing about complex musical performance practices does not mean eliminating actual practice.…”

“…In the term of rubato, Kravitt (1973); Martin (2002) state that rubato is part of the expression of the Romantic era. Krafit classified the concept of rubato into rubato which only involves melody elements and rubato which involves all texture element.…”

“…Krafit classified the concept of rubato into rubato which only involves melody elements and rubato which involves all texture element. Martin (2002) corrected the concept of rubato proposed by Karvitt. She explained that rubato is apparently so complex musical phenomena that attempts to discuss and explain it often seem inadequate and resort to overly reductive categorizations.…”

“…She explained that rubato is apparently so complex musical phenomena that attempts to discuss and explain it often seem inadequate and resort to overly reductive categorizations. Furthermore, Martin (2002;p.95) asserts there is a natural tendency by musicologists to reduce rubato as complex musical phenomena to simplistic formulas. The performer's perspective in classical music does not have a strong tradition as shown in music composition, musicology and philosophy of music.…”