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Generative Processes in MusicThe Psychology of Performance, Improvisation, and Composition$
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John Sloboda

Print publication date: 2001

Print ISBN-13: 9780198508465

Published to Oxford Scholarship Online: March 2012

DOI: 10.1093/acprof:oso/9780198508465.001.0001

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Timing in music performance and its relations to music experience

Timing in music performance and its relations to music experience

Chapter:
(p.27) 2 Timing in music performance and its relations to music experience
Source:
Generative Processes in Music
Author(s):

Alf Gabrielsson

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198508465.003.0002

This chapter supplements the previous chapter with some naturalistic data on rhythmic performance. This data confirms that performers make systematic and significant deviations from strict metricality, but also that it is hard to make generalizations about the nature of the deviations. The same figure may be played differently in different contexts, or by the same performer on different occasions. It treats timing in isolation from other means used by the performer, such as dynamics, intonation, and spectral variations. It also discusses different aspects of timing (tempo, classes of duration, articulation, deviations from mechanical regularity) separately from each other. In reality, however, all these means occur together in a complex, ever-changing interaction, depending on the instrument, the performer, and the situation.

Keywords:   music timing, music performance, musical emotion, tempo, articulation, rhythmic performance

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