1. Aural analysis for performing musicians The relationship between accents and expression Richard Parncutt Universität Graz VI. Kongress der Gesellschaft für Musiktheorie, Weimar, 6.-8-10.06

2. Introduction Information transmitted in performance Typical performance of a work Salience and accentuation Immanent vs performed accents Parncutt: Aural analysis for performing musicians

3. Aims analyse a musical work aurally  explain its perception  guide its interpretation understand the “work itself”  not a specific performance

4. Information transmitted in music performance score (categorical)  note names, note values…  tempo and dynamic markings… performance (continuous)  tempo, timing, dynamics, articulation, timbre…

5. “Typical” performance of a work “typical” = average MIDI data ( Repp, 1997)  Schumann "Träumerei" (op. 15, No. 7)  Chopin Etude in E major (op. 10, No. 3) result: average is preferred! conclusion: “typical” performance exists Þ a suitable basis for aural analysis

6. Salience Definitions of “event salience”:  probability of noticing  perceptual importance “Aural analysis” should:  highlight salient events  explain why they are salient

7. Accent Broad definition:  any salient event Broad classification:  immanent (werkimmanent)  performed (interpretatorisch)

8. Immanent accents metrical M grouping G melodic C harmonic H Performed accents agogic articulatory dynamic timbral

9. Performance of accents

10. Examples Melodic, harmonic accents Metrical, grouping accents Functions of performed accents Combinations of accent types Parncutt: Aural analysis for performing musicians

11. Melodic accents

12. Harmonic accents

13. Metrical accents M M M MM > > >

14. Grouping accents …………………………………..

15. Function of performed accents Q: Which immanent accents are emphasized most in performance? A: Those that are already salient Conclusion: Performance accents  clarify & exaggerate immanent accents  disambiguate musical structure

16. Combinations of accent types

17. A testable prediction Expressiveness depends on local immanent accent density Expressiveness: intensity of emotion deviation of tempo etc. from global mean Local immanent accent density: typical analysis by music theorist “local” = sum of sliding window

18. Conclusions The art of musical interpretation What the theory neglects What makes a good theory? Future research Parncutt: Aural analysis for performing musicians

19. Thesis Performed accents clarify or exaggerate selected immanent accents perceived musical structure Cf. Crelle (1823) “Ausdruck und Vortrag für Fortepiano-Spieler”

20. The art of musical interpretation Awareness of  structure (immanent accents; their salience)  expressive possibilities (performed accents) Immanent accents:  Which to emphasize? (already salient?)  How much? Performed accents:  Which to use?  How much?  In what way?  diversity of “good” interpretations ☺  non-falsifiable theory? ☻

21. What the theory neglects Shape of gestures (implied) physical movement idiosyncratic gestures, clichés Aspects of musical meaning Ecological origins Life experience

22. Pragmatic evaluation How can a music theory be useful? relatively simple and general supports explanation and understanding invites new performance interpretations can link theory teaching to performance Compare: Riemann Funktionslehre Schenker Stimmführung/Ursatz pitch-class set theory

23. Future research Qualitative:  aural analyses  pedagogical tests Quantitative:  computer model (cf. Sundberg & Friberg)  comparison of predictions with MIDI data In both cases:  openness for revision and extension  first pianists, then others

24. Aural analysis for performing musicians The relationship between accents and expression Richard Parncutt Universität Graz VI. Kongress der Gesellschaft für Musiktheorie, Weimar, 6.-8-10.06 Sorry about my accent!