Department of Cognitive Biology, University of Vienna Vienna, Austria.
Schulich School of Music, McGill University Montreal, QC, Canada.
Front Psychol. 2013 Nov 28;4:895. doi: 10.3389/fpsyg.2013.00895. eCollection 2013.
Although a growing body of research has examined issues related to individuality in music performance, few studies have attempted to quantify markers of individuality that transcend pieces and musical styles. This study aims to identify such meta-markers by discriminating between influences linked to specific pieces or interpretive goals and performer-specific playing styles, using two complementary statistical approaches: linear mixed models (LMMs) to estimate fixed (piece and interpretation) and random (performer) effects, and similarity analyses to compare expressive profiles on a note-by-note basis across pieces and expressive parameters. Twelve professional harpsichordists recorded three pieces representative of the Baroque harpsichord repertoire, including three interpretations of one of these pieces, each emphasizing a different melodic line, on an instrument equipped with a MIDI console. Four expressive parameters were analyzed: articulation, note onset asynchrony, timing, and velocity. LMMs showed that piece-specific influences were much larger for articulation than for other parameters, for which performer-specific effects were predominant, and that piece-specific influences were generally larger than effects associated with interpretive goals. Some performers consistently deviated from the mean values for articulation and velocity across pieces and interpretations, suggesting that global measures of expressivity may in some cases constitute valid markers of artistic individuality. Similarity analyses detected significant associations among the magnitudes of the correlations between the expressive profiles of different performers. These associations were found both when comparing across parameters and within the same piece or interpretation, or on the same parameter and across pieces or interpretations. These findings suggest the existence of expressive meta-strategies that can manifest themselves across pieces, interpretive goals, or expressive devices.
尽管越来越多的研究探讨了音乐表演中与个性相关的问题，但很少有研究试图量化超越作品和音乐风格的个性标记。本研究旨在通过区分与特定作品或解释目标相关的影响与表演者特定演奏风格来识别这些元标记，使用两种互补的统计方法：线性混合模型（LMM）来估计固定（作品和解释）和随机（表演者）效应，以及相似性分析来比较基于音符的作品之间的表达谱和表达参数。十二位专业古钢琴家演奏了三首巴洛克古钢琴曲目，包括其中一首的三个解释，每个解释都强调了不同的旋律线，在配备 MIDI 控制台的乐器上演奏。分析了四个表达参数：发音、音符起始异步、定时和速度。LMM 表明，作品特定的影响对于发音比其他参数大得多，对于其他参数，表演者特定的影响占主导地位，并且作品特定的影响通常大于与解释目标相关的影响。一些表演者在不同作品和解释中始终偏离发音和速度的平均值，这表明全局表达性度量在某些情况下可能构成艺术个性的有效标记。相似性分析检测到不同表演者之间表达谱的相关程度之间存在显著关联。这些关联不仅在参数之间进行比较时存在，而且在同一作品或解释内，或在同一参数内以及在不同作品或解释之间也存在。这些发现表明存在表达元策略，可以在作品、解释目标或表达手段之间表现出来。
