Performed and perceived dotting are different: implications for the
dotting debate
Submitted to CIM04, 27 October 2003
Dorottya Fabian
University of New South Wales
d.fabian@unsw.edu.au
Emery Schubert
University of New South Wales
e.schubert@unsw.edu.au
Desired mode of presentation
talk
Background in Performance:
In the literature on baroque performance practice there is a controversy
regarding the “appropriate” delivery of dotted rhythms, particularly in French
overtures and pieces where dotted patterns are prominent (Donington, 1989;
Neumann, 1993; Hefling, 1993). The debate focuses on the question whether
or not the ratio of dotting should be mechanical (0.75:0.25) or overdotted (eg.
0.875:0.125). A further matter that is discussed at some length is related to
articulation: whether or not a rest should be inserted between the long and the
short note. In the course of the various arguments both these issues are
discussed in the context of affect (or musical character) created. A previous
study (Fabian & Schubert 2003-4) showed that the judgement of musical
character depended largely on perceived articulation and tempo whilst
perceived dotting did not play a significant role. But is perceived and
performed dotting the same?
Background in Psychology:
Neither the historical treatises nor the modern literature distinguish whether
they are discussing perceived or performed dotting. Yet in our other study
(Schubert & Fabian 2001) we demonstrated experimentally the existence of
an illusion: listeners perceive identical dotting ratios as being more dotted
when the articulation is short (staccato) or the tempo is increased. This
indicates that perceived and performed dotting might be different and that
perceived dotting is likely to be a function of articulation and tempo as well as
dotting.
Aim:
To find out if there is a difference between perceived and performed dotting. If
so, is it a function of articulation and tempo?
Method:
We used 32 commercial recordings of Variation 7 from Bach’s Goldberg
Variations (selected from Fabian & Schubert 2003-4) and prepared acoustic
measurements of tempo, dotting and articulation using sound analysis
software. We then compared the results of this ‘objective’ measurement with
the subjective ratings of 98 undergraduate music students reported in the
earlier study.
Results:
A Pearson correlation analysis was conducted among all measured and
perceived variables. Each measured parameter was significantly correlated
with its perceived counterpart at p = 0.05. The lowest correlation across these
pairs was between measured and perceived dotting (r = 0.349, p = 0.050).
Based on the assertion that dotting is a function of articulation and tempo, a
regression analysis was performed to model dotting as a function of the three
measured variables. The coefficients explained 45.4% of the variance
(R=0.712), with each of the three variables making a roughly similar,
significant (at p = 0.01) contribution, with tempo making the strongest ( =
0.431). Articulation made a negative contribution ( = -0.373) because
shorter articulation is associated with increased perceived dottedness.
Conclusions
Consistent with the findings of Schubert and Fabian (2001), perceived dotting
ratio is different from performed dotting ratio. It seems to be a function of fast
tempo and shorter articulation in addition to the dotting ratio itself. The
important implication of this finding is that listeners are unlikely to be able to
judge performed dotting ratios accurately, and so suitable dotting ratios for
performance cannot be determined by listening alone. Conversely, since
performed dotting ratios are not perceived in isolation from other musical
features, we offer an explanation which may help to crystallise the dotting
debate. We propose that perceived dotting is a kind of musical character
rather than a reflection of a performed ratio. For this reason, performed
dotting ratio alone is not enough to determine optimum aesthetic affect. So to
examine perceived dotting purely in terms of performed dotting, as has been
done, is flawed.
Reference:
Donington, R. (1989). The Interpretation of Early Music London: Faber
Fabian, D & Schubert, E. (2003-4). Expressive devices and perceived musical
character in 34 performances of Variation 7 from Bach’s Goldberg Variation.
Muscae Scientiae Special Issue (in press)
Hefling, S. (1993). Rhythmic Alteration in Seventeenth- and EighteenthCentury Music New York: Schirmer
Neumann, F. (1993). Performance Practices of the Seventeenth and
Eighteenth Centuries New York, Schirmer
Schubert, E & Fabian, D (2001). Preference and perception in dotted 6/8
patterns by experienced and less experienced baroque music listeners.
Journal of Music Perception and Cognition 7 (2), 113-132
First author
Name
Current position
Main research
disciplines
Main research areas
Relevant qualification
Book Publication
Dorottya Fabian
Senior lecturer, University of NSW (Sydney)
Music history, performance
Sound recordings, performance practice
PhD in musicology, UNSW 1999
Bach Performance Practice 1945-1975 (Ashgate,
2003)
Second author
Name
Current position
Main research
disciplines
Main research areas
Relevant qualifications
Emery Schubert
Postdoctoral Fellow
music psychology, acoustics, statistics
Emotion in music, music perception
BE, BA (Hons in Music and Psychology), PhD