Musikens tyngdpunkter - om interaktionen mellan meter och rytm och dess roll i den interpretativa processen
(1999)Malmö Academy of Music
- Abstract
- Title_ Metric points of gravity in music - interaction between meter and rhythm and its role in the process of musical interpretation.
The aim of the present study is to shed more light on the following questions: What is the role of interaction between meter and rhythm in the process of musical interpretation? What motives lie behind the choices that music students make when interpreting a piece of classical music? Often there seems to be differences between the perspectives of a musician and that of a music analyst. In the theoretical part metric analyses are discussed as well as a mental model where the conception of a continuous flow of energy in music is compared with physical laws influencing a body in movement, different kinds of... (More) - Title_ Metric points of gravity in music - interaction between meter and rhythm and its role in the process of musical interpretation.
The aim of the present study is to shed more light on the following questions: What is the role of interaction between meter and rhythm in the process of musical interpretation? What motives lie behind the choices that music students make when interpreting a piece of classical music? Often there seems to be differences between the perspectives of a musician and that of a music analyst. In the theoretical part metric analyses are discussed as well as a mental model where the conception of a continuous flow of energy in music is compared with physical laws influencing a body in movement, different kinds of emphases, musical points of gravity serving as energy impulses, upbeats charging the music with power, the musical "transmission gear", rhythmical assymetrical patterns, etc. The empirical part is a study of six piano students at the Malmoe Academy of Music playing two pages of a Mozart sonata. After having been asked to mark in the score notes and divisions of significance for their performances, they were asked to play the same part again.The experiences of the participants as expressed in the interviews were compared with the recordings, their notations, and my personal impressions. The participants seemed to possess a great deal of self-criticism combined with a clear view of what they wanted to express musically, although their aesthetic ideals differed. They also considered the emotional and the analytical aspects of music to be equally important. But the result also indicates some difficulties among the participants in mastering falling rhythmical structures. It might be an advantage if questions dealing with musical structure and interpretative choices could be explained more clearly. Maybe there is a need for a new subject: a sort of interpretation, which could serve as a bridge bringing together all the different musical subjects into some commonly accepted aeshetic principles for musical performing. The connection to the spoken language can be used as a point of reference, since everybody knows a language. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/1858009
- author
- Fridell, Ingemar
- supervisor
- organization
- year
- 1999
- type
- H1 - Master's Degree (One Year)
- subject
- keywords
- points of gravity, energy flow, meter, rhythm, interpretation language
- language
- Swedish
- id
- 1858009
- date added to LUP
- 2011-03-22 13:52:05
- date last changed
- 2011-03-22 13:52:05
@misc{1858009,
abstract = {{Title_ Metric points of gravity in music - interaction between meter and rhythm and its role in the process of musical interpretation.
The aim of the present study is to shed more light on the following questions: What is the role of interaction between meter and rhythm in the process of musical interpretation? What motives lie behind the choices that music students make when interpreting a piece of classical music? Often there seems to be differences between the perspectives of a musician and that of a music analyst. In the theoretical part metric analyses are discussed as well as a mental model where the conception of a continuous flow of energy in music is compared with physical laws influencing a body in movement, different kinds of emphases, musical points of gravity serving as energy impulses, upbeats charging the music with power, the musical "transmission gear", rhythmical assymetrical patterns, etc. The empirical part is a study of six piano students at the Malmoe Academy of Music playing two pages of a Mozart sonata. After having been asked to mark in the score notes and divisions of significance for their performances, they were asked to play the same part again.The experiences of the participants as expressed in the interviews were compared with the recordings, their notations, and my personal impressions. The participants seemed to possess a great deal of self-criticism combined with a clear view of what they wanted to express musically, although their aesthetic ideals differed. They also considered the emotional and the analytical aspects of music to be equally important. But the result also indicates some difficulties among the participants in mastering falling rhythmical structures. It might be an advantage if questions dealing with musical structure and interpretative choices could be explained more clearly. Maybe there is a need for a new subject: a sort of interpretation, which could serve as a bridge bringing together all the different musical subjects into some commonly accepted aeshetic principles for musical performing. The connection to the spoken language can be used as a point of reference, since everybody knows a language.}},
author = {{Fridell, Ingemar}},
language = {{swe}},
note = {{Student Paper}},
title = {{Musikens tyngdpunkter - om interaktionen mellan meter och rytm och dess roll i den interpretativa processen}},
year = {{1999}},
}