Measurements and models of musical articulation
نویسندگان
چکیده
................................................................................................................................................... 3 SAMMANFATTNING................................................................................................................................... 3 INTRODUCTION .......................................................................................................................................... 5 WHAT IS “MUSICAL ARTICULATION”?........................................................................................................... 5 EARLIER STUDIES.......................................................................................................................................... 6 AIM............................................................................................................................................................... 8 METHOD........................................................................................................................................................ 9 A NOTE ON MODELS AND ASSUMPTIONS ..................................................................................................... 10 GENERAL RESULTS ................................................................................................................................. 11 TEMPOS ...................................................................................................................................................... 11 OVERALL ARTICULATION ........................................................................................................................... 12 ARTICULATION AND IOI ............................................................................................................................. 13 ARTICULATION AND RELATIVE IOI............................................................................................................. 14 DM PUNCTUATION RULE VS. MEASURED ARTICULATION............................................................................ 16 PIECE STUDIES.......................................................................................................................................... 17 BWV 537 ................................................................................................................................................... 17 Fagius and Rübsam ............................................................................................................................... 17 Hurford’s deviations.............................................................................................................................. 18 The diminished seventh leap ................................................................................................................. 18 The upbeat............................................................................................................................................. 18 Summary ............................................................................................................................................... 18 BWV 542 ................................................................................................................................................... 19 Koopman and Rilling: Binary articulation ............................................................................................ 19 Hurford: Less distinct patterns .............................................................................................................. 20 Fagius: No obvious pattern ................................................................................................................... 20 The upbeat............................................................................................................................................. 21 Summary ............................................................................................................................................... 21 BWV 564 ................................................................................................................................................... 22 Hurford and Fagius: Staccato on weak beats ........................................................................................ 22 Koopman and Rübsam: More staccato tones ........................................................................................ 22 The upbeats ........................................................................................................................................... 23 Summary ............................................................................................................................................... 23 BWV 578 ................................................................................................................................................... 23 Rübsam and Fagius: Partly similar articulation..................................................................................... 23 Rilling: Marking the ends of phrases .................................................................................................... 24 Comparison with DM punctuation........................................................................................................ 24 Summary ............................................................................................................................................... 24 DISCUSSION AND CONCLUSIONS ........................................................................................................ 25 REFERENCES ............................................................................................................................................. 28 APPENDIX: MATLAB FILES ................................................................................................................... 30
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