Understanding expressive intonation

Research on intonation has mainly sought for classifying and/or expressive explanations for performers’ strategies. In the field of music psychology and music perception, such explanations have been explored in terms of interval direction, size, or type; in the field of performance analysis, to which this article belongs, investigation on intonation has been not only scarce but also limited to short excerpts. In this context, this article explores Pau Casals’ intonational practice specific to his recording of Bach’s E flat major prelude for solo cello. To do so, on the basis of exact empirical measurements, it places such practice alongside the cellist’s conscious, theoretical recommendations apropos what he called “expressive” string intonation, showing that the interpretation of the latter should is not straightforward. It also proposes several reference points and tuning systems which could serve as models for Casals’ practice and looks for explanations beyond simple interval classification. In this manner, it ultimately proposes a structural function for intonation, in partnership with tempo and dynamics. Similarly, it understands Casals’ intonational practice not as a choice between but as a compromise for multiple options in tuning systems (mostly equal temperament and Pythagorean tuning), reference points (the fundamental note of the chord and the immediately preceding tone), the nature of the compositional materials (harmonic and melodic), and, most importantly, structure and expression.