DebussyV1, Istex, Corpus, bibRecord, 001120

Expressive Timing in a Debussy Prelude: A Comparison of Student and Expert Pianists

Identifieur interne : 001120 ( Istex/Corpus ); précédent : 001119; suivant : 001121

Expressive Timing in a Debussy Prelude: A Comparison of Student and Expert Pianists

Auteurs : Bruno H. Repp

Source :

Musicae scientiae [ 1029-8649 ] ; 1997.

RBID : ISTEX:7FA315A9FB008748E1CDDCA74F23BF834EC29ED1

English descriptors

Teeft :
- Acoustic recordings, Average tempo, Average timing profiles, Basic tempo, Brief rehearsal, Bruno, Commercial recordings, Cubic functions, Debussy, Debussy prelude, Debussy prelude bruno, Disklavier midi yamaha, Durand edition, Expert performances, Experts students, Expresi6n rftmica, Expressive, Expressive timing, Famous pianists, Graduate student pianists, Greater diversity, Human perception, Individual differences, Individual performances, Initial measures, Journal ofthe, Lois, Midi, Midi data, Modal tempi, Modal tempo, Music perception, Music performance, National origin, Oxford university press, Performance practice, Prelude, Qualitative observations, Repp, Same norm, Student performances, Student pianists, Tempo, Timing, Timing profiles, Timing shapes, Tone onsets.

Abstract

The expressive timing of 10 famous pianists' performances of Debussy's prelude, La fille aux cheveux de lin, was measured from acoustic recordings and compared to the expressive timing of performances by 10 graduate student pianists, recorded after only a brief rehearsal on a Yamaha Disklavier in MIDI format. Despite the-large differences between the two groups in preparation, experience, age, date of birth, and national origin, their average expressive timing profiles were extremely similar. Although individual differences tended to be more pronounced among the experts than among the students, the similarity of the average timing profiles suggests a common standard of expressive timing. Since this standard evidently can be approximated by graduate student pianists after only minimal rehearsal, it may be considered the default result of an encounter between a trained musician and a particular musical structure—the timing implied by the score.

Tras haber medido la expresión rítmica de la interpretación de diez pianistas celebres del preludio La fille aux cheveux de lin de Debussy, a partir de grabaciones acüsticas de sus versiones, la hemos comparado con la de diez pianistas estudiantes del conservatorio, registradas, tras un breve ensayo, en formato MIDI en un Disklavier Yamaha. A pesar de las inmensas diferencias de preparación, experiencia, edad, fecha de nacimiento y nacionalidad entre ambos grupos, la media de su expresión ritmica fue extremadamente similar. Aunque las diferencias individuales tendían a pronunciarse entre los expertos, la similitud en la media de ambos grupos hace suponer que la expresión rítmica se funda en un criterio general común. Ya que este modelo común puede ser conseguido por cualquier estudiante tras mínimos esfuerzos, podemos considerarlo el resultado por defecto de un encuentro entre un músico experimentado y una determinada estructura musical, el ritmo subyacente en la propia partitura.

L'espressività ritmica di 10 esecuzioni del preludio di Debussy, La Fille aux cheveux de lin, eseguito da 10 famosi pianisti, fu misurata e quindi confrontata con l'espressività ritmica di 10 esecuzioni dello stesso brano effettuate da 10 studenti di pianoforte, registrate, dopo una breve prova, sul Disklavier MIDI Yamaha. Malgrado la notevole differenza fra i due gruppi dal punto di vista della preparazione, dell'esperienza, dell'età, della data di nascita e della nazionalità d'origine, la media dei profili dell'espressività ritmica fu sorprendentemente simile. Benché le differenze personali siano più pronunciate tra gli esperti, questa somiglianza lascia supporre che l'espressività ritmica si basi su un modello comune. Poiché questi livelli possono essere raggiunti da pianisti studenti anche solo dopo una prova, possiamo dedurre che il non raggiungimento di questi risultati dipenderebbe dalla presenza di una particolare struttura musicale relativa al ritmo implicato nel pezzo.

Après avoir mesuré l'expression rythmique de dix pianistes célébres, à partir d'enregistrements acoustiques de leur interprétation du prélude La fille aux cheveux de lin de Debussy, on la compare à celle de dix pianistes étudiants de conservatoire, enregistrée après une brève répétition sur Disklavier MIDI Yamaha. En dépit des énormes différences de préparation, d'expérience, d'âge, de date de naissance, et d'origine nationale entre les deux groupes, la moyenne des profils de l'expression rythmique est étonnamment semblable. Bien que les différences personnelles soient plus prononcées parmi les experts, cette similitude laisse supposer que l'expression rythmique se fonde sur un critérium général. Puisqu'un minimum de répétition permet à des étudiants de s'en approcher de très près, on est en droit de penser que leur carence résulte de la mise en présence d'un musicien formé et d'une structure musicale particulière – le rythme sousjacent à ladite pièce.

Die expressive Zeitgestaltung beim Vortrag des Preludes La fille aux cheveux de lin von C. Debussy durch zehn berühmte Pianisten wurde auf der Basis von Schallaufnahmen untersucht und mit der von zehn fortgeschrittenen Klavierschülern, aufgenommen nach nur kurzer Probe auf einem Yamaha Disklavier, verglichen. Trotz der großen Unterschiede zwischen den Angehörigen der beiden Gruppen hinsichtlich Vorbereitung, Erfahrung, Alter und Nationalität waren die durchschnittlichen Zeitgestaltungsprofile außerordentlich ähnlich. Obwohl individuelle Unterschiede bei den Experten stärker ausgeprägt waren als bei den Schülern, lassen diese Ergebnisse auf einen gemeinsamen Standard der expressiven Zeitgestaltung schließen. Da dieser Standard von fortgeschrittenen Klavierschülern nach nur kurzer Probe näherungsweise erreicht wird, kann er als natürliches Produkt des Zusammentreffens zwischen einem geschulten Musiker und einer speziellen musikalischen Struktur betrachtet werden – als die von der Partitur implizierte Zeitgestaltung.

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https://api.istex.fr/document/7FA315A9FB008748E1CDDCA74F23BF834EC29ED1/fulltext/pdf

DOI: 10.1177/102986499700100206

Links to Exploration step

ISTEX:7FA315A9FB008748E1CDDCA74F23BF834EC29ED1

Le document en format XML

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<abstract xml:lang="en"><p>The expressive timing of 10 famous pianists' performances of Debussy's prelude, La fille aux cheveux de lin, was measured from acoustic recordings and compared to the expressive timing of performances by 10 graduate student pianists, recorded after only a brief rehearsal on a Yamaha Disklavier in MIDI format. Despite the-large differences between the two groups in preparation, experience, age, date of birth, and national origin, their average expressive timing profiles were extremely similar. Although individual differences tended to be more pronounced among the experts than among the students, the similarity of the average timing profiles suggests a common standard of expressive timing. Since this standard evidently can be approximated by graduate student pianists after only minimal rehearsal, it may be considered the default result of an encounter between a trained musician and a particular musical structure—the timing implied by the score.</p>
</abstract>
<abstract xml:lang="es"><p>Tras haber medido la expresión rítmica de la interpretación de diez pianistas celebres del preludio La fille aux cheveux de lin de Debussy, a partir de grabaciones acüsticas de sus versiones, la hemos comparado con la de diez pianistas estudiantes del conservatorio, registradas, tras un breve ensayo, en formato MIDI en un Disklavier Yamaha. A pesar de las inmensas diferencias de preparación, experiencia, edad, fecha de nacimiento y nacionalidad entre ambos grupos, la media de su expresión ritmica fue extremadamente similar. Aunque las diferencias individuales tendían a pronunciarse entre los expertos, la similitud en la media de ambos grupos hace suponer que la expresión rítmica se funda en un criterio general común. Ya que este modelo común puede ser conseguido por cualquier estudiante tras mínimos esfuerzos, podemos considerarlo el resultado por defecto de un encuentro entre un músico experimentado y una determinada estructura musical, el ritmo subyacente en la propia partitura.</p>
</abstract>
<abstract xml:lang="it"><p>L'espressività ritmica di 10 esecuzioni del preludio di Debussy, La Fille aux cheveux de lin, eseguito da 10 famosi pianisti, fu misurata e quindi confrontata con l'espressività ritmica di 10 esecuzioni dello stesso brano effettuate da 10 studenti di pianoforte, registrate, dopo una breve prova, sul Disklavier MIDI Yamaha. Malgrado la notevole differenza fra i due gruppi dal punto di vista della preparazione, dell'esperienza, dell'età, della data di nascita e della nazionalità d'origine, la media dei profili dell'espressività ritmica fu sorprendentemente simile. Benché le differenze personali siano più pronunciate tra gli esperti, questa somiglianza lascia supporre che l'espressività ritmica si basi su un modello comune. Poiché questi livelli possono essere raggiunti da pianisti studenti anche solo dopo una prova, possiamo dedurre che il non raggiungimento di questi risultati dipenderebbe dalla presenza di una particolare struttura musicale relativa al ritmo implicato nel pezzo.</p>
</abstract>
<abstract xml:lang="fr"><p>Après avoir mesuré l'expression rythmique de dix pianistes célébres, à partir d'enregistrements acoustiques de leur interprétation du prélude La fille aux cheveux de lin de Debussy, on la compare à celle de dix pianistes étudiants de conservatoire, enregistrée après une brève répétition sur Disklavier MIDI Yamaha. En dépit des énormes différences de préparation, d'expérience, d'âge, de date de naissance, et d'origine nationale entre les deux groupes, la moyenne des profils de l'expression rythmique est étonnamment semblable. Bien que les différences personnelles soient plus prononcées parmi les experts, cette similitude laisse supposer que l'expression rythmique se fonde sur un critérium général. Puisqu'un minimum de répétition permet à des étudiants de s'en approcher de très près, on est en droit de penser que leur carence résulte de la mise en présence d'un musicien formé et d'une structure musicale particulière – le rythme sousjacent à ladite pièce.</p>
</abstract>
<abstract xml:lang="de"><p>Die expressive Zeitgestaltung beim Vortrag des Preludes La fille aux cheveux de lin von C. Debussy durch zehn berühmte Pianisten wurde auf der Basis von Schallaufnahmen untersucht und mit der von zehn fortgeschrittenen Klavierschülern, aufgenommen nach nur kurzer Probe auf einem Yamaha Disklavier, verglichen. Trotz der großen Unterschiede zwischen den Angehörigen der beiden Gruppen hinsichtlich Vorbereitung, Erfahrung, Alter und Nationalität waren die durchschnittlichen Zeitgestaltungsprofile außerordentlich ähnlich. Obwohl individuelle Unterschiede bei den Experten stärker ausgeprägt waren als bei den Schülern, lassen diese Ergebnisse auf einen gemeinsamen Standard der expressiven Zeitgestaltung schließen. Da dieser Standard von fortgeschrittenen Klavierschülern nach nur kurzer Probe näherungsweise erreicht wird, kann er als natürliches Produkt des Zusammentreffens zwischen einem geschulten Musiker und einer speziellen musikalischen Struktur betrachtet werden – als die von der Partitur implizierte Zeitgestaltung.</p>
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<title-group><article-title>Expressive Timing in a Debussy Prelude: A Comparison of Student and Expert Pianists</article-title>
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Repp</surname>
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<abstract><p>The expressive timing of 10 famous pianists' performances of Debussy's prelude, <italic>La fille aux cheveux de lin</italic>
, was measured from acoustic recordings and compared to the expressive timing of performances by 10 graduate student pianists, recorded after only a brief rehearsal on a Yamaha Disklavier in MIDI format. Despite the-large differences between the two groups in preparation, experience, age, date of birth, and national origin, their <italic>average</italic>
 expressive timing profiles were extremely similar. Although individual differences tended to be more pronounced among the experts than among the students, the similarity of the average timing profiles suggests a common standard of expressive timing. Since this standard evidently can be approximated by graduate student pianists after only minimal rehearsal, it may be considered the default result of an encounter between a trained musician and a particular musical structure—the timing implied by the score.</p>
</abstract>
<trans-abstract xml:lang="ES"><p>Tras haber medido la expresión rítmica de la interpretación de diez pianistas celebres del preludio <italic>La fille aux cheveux de lin</italic>
 de Debussy, a partir de grabaciones acüsticas de sus versiones, la hemos comparado con la de diez pianistas estudiantes del conservatorio, registradas, tras un breve ensayo, en formato MIDI en un Disklavier Yamaha. A pesar de las inmensas diferencias de preparación, experiencia, edad, fecha de nacimiento y nacionalidad entre ambos grupos, la media de su expresión ritmica fue extremadamente similar. Aunque las diferencias individuales tendían a pronunciarse entre los expertos, la similitud en la media de ambos grupos hace suponer que la expresión rítmica se funda en un criterio general común. Ya que este modelo común puede ser conseguido por cualquier estudiante tras mínimos esfuerzos, podemos considerarlo el resultado por defecto de un encuentro entre un músico experimentado y una determinada estructura musical, el ritmo subyacente en la propia partitura.</p>
</trans-abstract>
<trans-abstract xml:lang="IT"><p>L'espressività ritmica di 10 esecuzioni del preludio di Debussy, La Fille aux cheveux de lin, eseguito da 10 famosi pianisti, fu misurata e quindi confrontata con l'espressività ritmica di 10 esecuzioni dello stesso brano effettuate da 10 studenti di pianoforte, registrate, dopo una breve prova, sul Disklavier MIDI Yamaha. Malgrado la notevole differenza fra i due gruppi dal punto di vista della preparazione, dell'esperienza, dell'età, della data di nascita e della nazionalità d'origine, la media dei profili dell'espressività ritmica fu sorprendentemente simile. Benché le differenze personali siano più pronunciate tra gli esperti, questa somiglianza lascia supporre che l'espressività ritmica si basi su un modello comune. Poiché questi livelli possono essere raggiunti da pianisti studenti anche solo dopo una prova, possiamo dedurre che il non raggiungimento di questi risultati dipenderebbe dalla presenza di una particolare struttura musicale relativa al ritmo implicato nel pezzo.</p>
</trans-abstract>
<trans-abstract xml:lang="FR"><p>Après avoir mesuré l'expression rythmique de dix pianistes célébres, à partir d'enregistrements acoustiques de leur interprétation du prélude <italic>La fille aux cheveux de lin</italic>
 de Debussy, on la compare à celle de dix pianistes étudiants de conservatoire, enregistrée après une brève répétition sur Disklavier MIDI Yamaha. En dépit des énormes différences de préparation, d'expérience, d'âge, de date de naissance, et d'origine nationale entre les deux groupes, la moyenne des profils de l'expression rythmique est étonnamment semblable. Bien que les différences personnelles soient plus prononcées parmi les experts, cette similitude laisse supposer que l'expression rythmique se fonde sur un critérium général. Puisqu'un minimum de répétition permet à des étudiants de s'en approcher de très près, on est en droit de penser que leur carence résulte de la mise en présence d'un musicien formé et d'une structure musicale particulière – le rythme sousjacent à ladite pièce.</p>
</trans-abstract>
<trans-abstract xml:lang="DE"><p>Die expressive Zeitgestaltung beim Vortrag des Preludes <italic>La fille aux cheveux de lin</italic>
 von C. Debussy durch zehn berühmte Pianisten wurde auf der Basis von Schallaufnahmen untersucht und mit der von zehn fortgeschrittenen Klavierschülern, aufgenommen nach nur kurzer Probe auf einem Yamaha Disklavier, verglichen. Trotz der großen Unterschiede zwischen den Angehörigen der beiden Gruppen hinsichtlich Vorbereitung, Erfahrung, Alter und Nationalität waren die durchschnittlichen Zeitgestaltungsprofile außerordentlich ähnlich. Obwohl individuelle Unterschiede bei den Experten stärker ausgeprägt waren als bei den Schülern, lassen diese Ergebnisse auf einen gemeinsamen Standard der expressiven Zeitgestaltung schließen. Da dieser Standard von fortgeschrittenen Klavierschülern nach nur kurzer Probe näherungsweise erreicht wird, kann er als natürliches Produkt des Zusammentreffens zwischen einem geschulten Musiker und einer speziellen musikalischen Struktur betrachtet werden – als die von der Partitur implizierte Zeitgestaltung.</p>
</trans-abstract>
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<abstract lang="en">The expressive timing of 10 famous pianists' performances of Debussy's prelude, La fille aux cheveux de lin, was measured from acoustic recordings and compared to the expressive timing of performances by 10 graduate student pianists, recorded after only a brief rehearsal on a Yamaha Disklavier in MIDI format. Despite the-large differences between the two groups in preparation, experience, age, date of birth, and national origin, their average expressive timing profiles were extremely similar. Although individual differences tended to be more pronounced among the experts than among the students, the similarity of the average timing profiles suggests a common standard of expressive timing. Since this standard evidently can be approximated by graduate student pianists after only minimal rehearsal, it may be considered the default result of an encounter between a trained musician and a particular musical structure—the timing implied by the score.</abstract>
<abstract lang="es">Tras haber medido la expresión rítmica de la interpretación de diez pianistas celebres del preludio La fille aux cheveux de lin de Debussy, a partir de grabaciones acüsticas de sus versiones, la hemos comparado con la de diez pianistas estudiantes del conservatorio, registradas, tras un breve ensayo, en formato MIDI en un Disklavier Yamaha. A pesar de las inmensas diferencias de preparación, experiencia, edad, fecha de nacimiento y nacionalidad entre ambos grupos, la media de su expresión ritmica fue extremadamente similar. Aunque las diferencias individuales tendían a pronunciarse entre los expertos, la similitud en la media de ambos grupos hace suponer que la expresión rítmica se funda en un criterio general común. Ya que este modelo común puede ser conseguido por cualquier estudiante tras mínimos esfuerzos, podemos considerarlo el resultado por defecto de un encuentro entre un músico experimentado y una determinada estructura musical, el ritmo subyacente en la propia partitura.</abstract>
<abstract lang="it">L'espressività ritmica di 10 esecuzioni del preludio di Debussy, La Fille aux cheveux de lin, eseguito da 10 famosi pianisti, fu misurata e quindi confrontata con l'espressività ritmica di 10 esecuzioni dello stesso brano effettuate da 10 studenti di pianoforte, registrate, dopo una breve prova, sul Disklavier MIDI Yamaha. Malgrado la notevole differenza fra i due gruppi dal punto di vista della preparazione, dell'esperienza, dell'età, della data di nascita e della nazionalità d'origine, la media dei profili dell'espressività ritmica fu sorprendentemente simile. Benché le differenze personali siano più pronunciate tra gli esperti, questa somiglianza lascia supporre che l'espressività ritmica si basi su un modello comune. Poiché questi livelli possono essere raggiunti da pianisti studenti anche solo dopo una prova, possiamo dedurre che il non raggiungimento di questi risultati dipenderebbe dalla presenza di una particolare struttura musicale relativa al ritmo implicato nel pezzo.</abstract>
<abstract lang="fr">Après avoir mesuré l'expression rythmique de dix pianistes célébres, à partir d'enregistrements acoustiques de leur interprétation du prélude La fille aux cheveux de lin de Debussy, on la compare à celle de dix pianistes étudiants de conservatoire, enregistrée après une brève répétition sur Disklavier MIDI Yamaha. En dépit des énormes différences de préparation, d'expérience, d'âge, de date de naissance, et d'origine nationale entre les deux groupes, la moyenne des profils de l'expression rythmique est étonnamment semblable. Bien que les différences personnelles soient plus prononcées parmi les experts, cette similitude laisse supposer que l'expression rythmique se fonde sur un critérium général. Puisqu'un minimum de répétition permet à des étudiants de s'en approcher de très près, on est en droit de penser que leur carence résulte de la mise en présence d'un musicien formé et d'une structure musicale particulière – le rythme sousjacent à ladite pièce.</abstract>
<abstract lang="de">Die expressive Zeitgestaltung beim Vortrag des Preludes La fille aux cheveux de lin von C. Debussy durch zehn berühmte Pianisten wurde auf der Basis von Schallaufnahmen untersucht und mit der von zehn fortgeschrittenen Klavierschülern, aufgenommen nach nur kurzer Probe auf einem Yamaha Disklavier, verglichen. Trotz der großen Unterschiede zwischen den Angehörigen der beiden Gruppen hinsichtlich Vorbereitung, Erfahrung, Alter und Nationalität waren die durchschnittlichen Zeitgestaltungsprofile außerordentlich ähnlich. Obwohl individuelle Unterschiede bei den Experten stärker ausgeprägt waren als bei den Schülern, lassen diese Ergebnisse auf einen gemeinsamen Standard der expressiven Zeitgestaltung schließen. Da dieser Standard von fortgeschrittenen Klavierschülern nach nur kurzer Probe näherungsweise erreicht wird, kann er als natürliches Produkt des Zusammentreffens zwischen einem geschulten Musiker und einer speziellen musikalischen Struktur betrachtet werden – als die von der Partitur implizierte Zeitgestaltung.</abstract>
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<part><date>1997</date>
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<accessCondition type="use and reproduction" contentType="copyright">© 1997 European Society for the Cognitive Sciences of Music</accessCondition>
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Expressive Timing in a Debussy Prelude: A Comparison of Student and Expert Pianists

Expressive Timing in a Debussy Prelude: A Comparison of Student and Expert Pianists

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