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MARCIN STRZELECKI
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Research into deep semantic interpretations can be enriched in general terms by new methods of analysis employing advanced techniques.
Here I would like to present my own method of analyzing the flow of
time in performances. Whilst recordings are not comparable in terms of
timbre, they are easily subjected to comparison in respect to timing.
Theorists very often write about general parameters, such as the
duration and average tempo of performance, pedalisation contour and
dynamic shape. However, the problem of indicating a strict relationship
between musical and physical time has yet to be resolved. Such studies
may prove crucial, and provide a basis for new ways of studying recorded performances.
For this presentation, I have chosen six recorded performances of
three preludes from Op. 28, according to particular problems concerning time flow. The table below contains information regarding the six
performances:
Figure 1. F. Chopin, Preludes, Op. 28 Nos. 7, 14, 20
recordings analysed:
Artur Rubinstein
Shura Cherkassky
Martha Argerich
Grigory Sokolov
Jerzy Godziszewski
Maurizio Pollini
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Since this image still lacks segmentation, we need some kind of point
of reference in order to localize musical events. The procedure is supported by another harmonic image, obtained by processing information
contained in the composition score. From the score we may create a regular MIDI file, represented here by a kind of piano roll:
Figure 6. F. Chopin, Prelude, Op. 28 No. 20
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b) Performance
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From this point on, the simulation is synchronized with the performance, which allows us to copy the bar and unit markers from the
simulation to the performance.
Figure 9. Synchronization of the simulation and the performance
The charts present the results of using this method. We obtain the
precise segmentation of the performance, according to the score (vertical lines represent bar onsets):
Figure 10. Segmentation of the performance
a) F. Chopin, Prelude, Op. 28 No. 7
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Rubato
I would like to move on to the most interesting advantage of applying the method described above, which is the measuring of rubato. As a
qualitative category rubato is a factor in the expression of the performance. It is often described in literature as one of the main features char33
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Summary
This paper has demonstrated a method for the non-subjective and
precise measurement of local time flow in performances of musical
works. The application of psychoacoustic procedures not only renders
analysis of performances more effective (by localizing musical events)
but also provides an empirical basis for new interpretations. Time flow
measurement makes it possible to carry out research into other aspects
of performance.
However, we must keep in mind that the only thing presented here
is a method of analysis, i.e. a method of gathering information. It is necessary to elaborate a further interpretation of this data, within the wide
context of our knowledge of Chopins works and their performances.
The method presented provides one example of the application of
advanced information processing techniques. Within this approach the
amount of information which we are able to extract depends more on
the level of technological sophistication (and on having a good idea)
than on deep, introspective research. It must be said that in order to
avoid concentrating on technical problems alone, it is necessary to consider those problems of most interest from an artistic point of view, as is
undoubtedly the problem of time flow in performances of Chopin.