MoYve, Gesture and the Analysis of Performance Gestures

MoYve, Gesture and the Analysis of Performance Gestures

Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Mo0ve, Gesture and the Analysis of Performance Paper by John Rink, Neta Spiro and Nicolas Gold Presented by Elaine Chew QMUL: ELE021/ELED021/ELEM021 12 March 2012 Gestures •  music’s gestural proper0es are neither captured by nor fully encoded within musical nota0on, but instead require the agency of performance to achieve their full realiza0on. •  gestures created in and through performance poten0ally have mo0vic func0ons. •  Such ‘mo0ves’ are defined as expressive pa*erns in 0ming, dynamics, ar0cula0on, 0mbre etc that maintain their iden0ty upon repe00on. QMUL: ELE021/ELED021/ELEM021: Chew 1 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Mo0ves •  Defini0on: short musical idea, melodic, harmonic, rhythmic or combina0on thereof. •  A mo0f is most commonly regarded as the shortest subdivision of a theme/phrase that s0ll maintains its iden0ty as an idea. Structure and Performance •  Rela0onship between musical structure and performance is complex and non-­‐exclusive. •  One must acknowledge the origin and dynamic nature of music structure. •  Performers create musical structures/shapes in every performance. •  The dynamic structures underlying and generated within performed music poten0ally operate at numerous hierarchical levels. QMUL: ELE021/ELED021/ELEM021: Chew 2 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Goal cevaplar.mynet.com/soru-cevap/mazurka-hangi-ulkenin-milli-dansidir/135666
•  Determine how the sounded music is made to cohere; focus not the intent of the performer. •  Trap of tradi0onal analyses: assembling data and ignoring broader musical purpose/effect. •  Study couples objec0ve analy0cal methodology with (subjec0ve) cri0cal assessment. Chopin’s Mazurkas •  Urbanized Mazurka tradi0on •  Traces of at least three folk dances – oberek (lively), mazur ( joyous) and kujawiak (plain0ve) •  Modal (Lydian Fourth) elements, tendency towards chroma0cism •  Folk devices: drone fi_hs, ‘0ght’ ornamenta0on, obsessive repe00on, 2nd/3rd beat accents (stamping gesture in dance), waltz-­‐
like accompaniment QMUL: ELE021/ELED021/ELEM021: Chew 3 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 theuniversallanguageofmusicic.wordpress.com
Mazurka Op. 24 No. 2 •  Composed 1833, published 1835 •  Mazurkas not for dancing (lecer to family) •  Example: Arthur Rubinstein –  hcp://www.youtube.com/watch?
v=vzxlN_lDvv0 Mazurka Op.24 No.2 QMUL: ELE021/ELED021/ELEM021: Chew 4 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Mazurka Op.24 No.2 mazur-­‐ inspired RH melody aching melancholy of kajuwiak ebulient mazur-­‐ like phase Musical Process •  Process from note to note, bar to bar, phrase to phrase, while also involving overarching rela0onships between less proximate features •  Gravita0onal tendencies of sec0ons: processive or recessive, prospec0ve or retrospec0ve •  How non-­‐symmetrical middle sec0on is handled against symmetrical first part, and non-­‐symmetrical foreshortened reprise QMUL: ELE021/ELED021/ELEM021: Chew 5 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Time •  Discrepancy between metronome markings: crotchet=108/192 •  Types of rubato (e.g. at bar 29) –  Structured temporal flexibility –  Freer, with irregular beat lengths –  At the level of form •  Synchrony / assynchrony between two hands •  Timing of ornamenta0on (on/before beat) Beat Length in All 29 Performances QMUL: ELE021/ELED021/ELEM021: Chew 6 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Self Organizing Maps Clusters similar 0ming/
dynamic pacerns T1 32%, T2 30%, T3 24%, T4 14% D1 32%, D2 30%, D3 24%, D4 14% almost flat expected mazurka pacern phrase final lengthening typical triple meter Distribu0on of Timing Clusters QMUL: ELE021/ELED021/ELEM021: Chew 7 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Distribu0on of Dynamic Clusters Distribu0on of Timing Clusters within each performance QMUL: ELE021/ELED021/ELEM021: Chew 8 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Broad Pacerns and Individual Performances •  Broad comparisons reveal pacerns across large number of performances •  Detailed examina0on of individual performance required for insights into pacerns dis0nc0ve to each performer •  SOM trained on individual performances to reveal inter-­‐ and intra-­‐performer pacerns and distribu0ons Chiu Timing Clusters Least number of 0ming clusters, 3 ~ perceived richness and interest QMUL: ELE021/ELED021/ELEM021: Chew 9 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Chiu Dynamic Clusters Magaloff Timing Clusters Highest number of 0ming clusters, 18 few pacerns return when material repeated pacerns form sub-­‐groups QMUL: ELE021/ELED021/ELEM021: Chew 10 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Magaloff Dynamic Clusters Rubinstein Timing Clusters Middling number of 0ming clusters, 8 considerable alignment between repeated thema0c material and expressive pacern QMUL: ELE021/ELED021/ELEM021: Chew 11 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Rubinstein Dynamic Clusters Three ques0ons •  Musical meaning and significance of analy0cal findings? •  How do expressive pacerns give musical coherence? •  How to understand hierarchy of temporally defined musical gestures? QMUL: ELE021/ELED021/ELEM021: Chew 12 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Notes •  Number of cluster types not directly related to perceived richness and interest •  Chiu (3) sounds mechanical •  Magaloff (18) sounds willful and unstable •  Rubinstein (8) balances rhythmic consistency with rubato in melodic line •  Not presence or quan0ty of expressive clusters, but what performers make of them that counts Rubinstein Beat Lengths Broad tempos act as background to / founda0on for more immediate temporal fluctua0ons QMUL: ELE021/ELED021/ELEM021: Chew 13 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Rubinstein: Timing Clusters vs. Structure of Piece Hypermeasure = 4-­‐bar unit RT3 / RT7 feature agogic accents on first downbeat Used in 23 or 30 hypermeasure starts Temporal Shape of Rubinstein’s Performance regularity This image helps us understand what we are listening to but possibly unable to hear. QMUL: ELE021/ELED021/ELEM021: Chew 14 Rink/Spiro/Gold: Mo0ve, Gesture and the Analysis of Performance 3/12/12 Reference •  Rink, John, Neta Spiro, and Nicolas Gold (2011). Mo0ve, Gesture and the Analysis of Performance. In New Perspec0ves on Music and Gesture, Chapter 13: 267-­‐292. QMUL: ELE021/ELED021/ELEM021: Chew 15