Palmer C
Cornell University.
J Exp Psychol Hum Percept Perform. 1989 May;15(2):331-46. doi: 10.1037//0096-1523.15.2.331.
Expressive timing methods are described that map pianists' musical thoughts to sounded performance. In Experiment 1, 6 pianists performed the same musical excerpt on a computer-monitored keyboard. Each performance contained 3 expressive timing patterns: chord asynchronies, rubato patterns, and overlaps (staccato and legato). Each pattern was strongest in experienced pianists' performances and decreased when pianists attempted to play unmusically. In Experiment 2 pianists performed another musical excerpt and notated their musical intentions on an unedited score. The notated interpretations correlated with the presence of the 3 methods: The notated melody preceded other events in chords (chord asynchrony); events notated as phase boundaries showed greatest tempo changes (rubato); and the notated melody showed most consistent amount of overlap between adjacent events (staccato and legato). These results suggest that the mapping of musical thought to musical action is rule-governed, and the same rules produce different interpretations.
本文描述了一种富有表现力的计时方法，该方法可将钢琴家的音乐思维转化为有声的演奏。在实验1中，6位钢琴家在电脑监控的键盘上演奏了相同的音乐片段。每次演奏包含3种富有表现力的计时模式：和弦异步、节奏变化模式和重叠（断奏和连奏）。每种模式在经验丰富的钢琴家的演奏中最为明显，而当钢琴家试图以不和谐的方式演奏时则会减弱。在实验2中，钢琴家演奏了另一段音乐片段，并在未经编辑的乐谱上标注了他们的音乐意图。标注的诠释与这3种方法的存在相关：标注的旋律在和弦中的其他事件之前出现（和弦异步）；标注为相位边界的事件显示出最大的节奏变化（节奏变化）；标注的旋律在相邻事件之间显示出最一致的重叠量（断奏和连奏）。这些结果表明，音乐思维到音乐行动的映射是受规则支配的，并且相同的规则会产生不同的诠释。
