A retrospective of the research on musical expression conducted at CEGeME

CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.

A Three-Dimensional Model for Evaluating Individual Differences in Tempo and Tempo Variation in Musical Performance

People differ from each other, and this includes performers of music. The study of individual differences is well established in many social science disciplines but has been largely neglected in music performance research. To what extent do performers play differently from each other? How can these differences be concisely described and precisely assessed? Questions like these remain unanswered. Focusing on tempo and tempo variation in performance, this article contributes to knowledge by describing a well-defined, clearly illustrated and systematically classified taxonomy for identifying differences in tempo and tempo variation. Based on findings from past theoretical and empirical research on tempo in performance, it presents a model whereby performers’ individual differences in tempo and tempo variation can be evaluated. The model identifies six variables representing three dimensions of tempo and tempo variation: basic tempo, global tempo variation, and local tempo variation. It has the potential for providing researchers with a toolbox for analyzing differences among individual performers’ use of tempo and tempo variation by assessing the extent to which each of the variables is embodied in specific performances. Evgeny Kissin’s and Lars Vogt’s recorded performances are used to illustrate how the model will perform its role. Researchers could test the model further by analyzing a larger repertoire and/or carrying out experiments to generate more comprehensive knowledge about individual differences in performance style.

The Interpretive Shaping of Music Performance Research

<p>In their study of nine pianists Buck, MacRitchie and Bailey observe a universal embodiment of phrasing structure and other higher-level structural features of the music, the physical makeup of which is nevertheless particular to both the individual performers and the pieces they are performing. Such a conclusion invites renewed consideration of assumptions in the literature on musical performance about the nature and role of structure and about performers&rsquo; &lsquo;interpretations&rsquo; thereof. The findings also raise interesting questions about the musical viability of empirical research on performance and its capacity to shed light on how performers shape the music they play, their motivations in doing so, and how those listening to them might in turn be affected by this.</p>