In order to verify if the performer interpretation has a role on the perceived segmentation of atonal music, we performed three experiments according to the ecological approach developed by Irène Deliège (1990). We hypothesize that musical structure affects grouping more than performance and, moreover, that the main mechanism involved in the representation of musical structure is related to the detection of similarity and difference between phrases, that is, of their redundancy. For each experiment 30 subjects were invited to attentively listen to two different performances of an atonal piece, to understand its plan and to mark off the sections of the work pressing a computer key. The order of presentation of the two performances was balanced. In a first experiment we used two versions of Berio’s Sequenza VI performed respectively by Desjardins (1998) and Knox (2006). These variants are different in duration (12.13min. vs 13.14min.) and show differences in dynamics aspects (i.e.: velocity, intensity), accents distribution and gaps duration. The aim of this work was to isolate and analyze the role of variations in dynamic components, accents distribution, duration and the instrumentalists’ point of view in the representation of the musical surface, as perceived by the listeners. In the second experiment we focused on the role of performances duration by using two versions of Berio’s Sequenza III, recorded by the same singer, that differ exactly in duration. In order to better investigate the performers interpretation of the score, in the third experiment we asked to two musicians to record a performance of Berio’s Sequenza VIII by means of a score in which we had previously erased the dynamic instructions provided by the composer. Moreover, none of the two instrumentalists knew the Berio’s composition before our request. Then we used the obtained tracks as stimuli in the same paradigm of previous experiments. The results show a good number of coinciding segmentations in the two versions either for the first, the second and the last experiment, confirming our hypothesis and suggesting a main role of the texture in perceiving and representing the plan of the pieces. The results of the three experiments are discussed in relation to the role of same/different detection
Perceiving and categorizing atonal music: the role of redundancy and performance / Giorgio, Maurizio; Imberty, M.; Olivetti, Marta. - (2012). (Intervento presentato al convegno ICMPC-ESCOM 2012 tenutosi a Thessaloniki, Greece nel 23-28 July).
Perceiving and categorizing atonal music: the role of redundancy and performance
GIORGIO, MAURIZIO;OLIVETTI, Marta
2012
Abstract
In order to verify if the performer interpretation has a role on the perceived segmentation of atonal music, we performed three experiments according to the ecological approach developed by Irène Deliège (1990). We hypothesize that musical structure affects grouping more than performance and, moreover, that the main mechanism involved in the representation of musical structure is related to the detection of similarity and difference between phrases, that is, of their redundancy. For each experiment 30 subjects were invited to attentively listen to two different performances of an atonal piece, to understand its plan and to mark off the sections of the work pressing a computer key. The order of presentation of the two performances was balanced. In a first experiment we used two versions of Berio’s Sequenza VI performed respectively by Desjardins (1998) and Knox (2006). These variants are different in duration (12.13min. vs 13.14min.) and show differences in dynamics aspects (i.e.: velocity, intensity), accents distribution and gaps duration. The aim of this work was to isolate and analyze the role of variations in dynamic components, accents distribution, duration and the instrumentalists’ point of view in the representation of the musical surface, as perceived by the listeners. In the second experiment we focused on the role of performances duration by using two versions of Berio’s Sequenza III, recorded by the same singer, that differ exactly in duration. In order to better investigate the performers interpretation of the score, in the third experiment we asked to two musicians to record a performance of Berio’s Sequenza VIII by means of a score in which we had previously erased the dynamic instructions provided by the composer. Moreover, none of the two instrumentalists knew the Berio’s composition before our request. Then we used the obtained tracks as stimuli in the same paradigm of previous experiments. The results show a good number of coinciding segmentations in the two versions either for the first, the second and the last experiment, confirming our hypothesis and suggesting a main role of the texture in perceiving and representing the plan of the pieces. The results of the three experiments are discussed in relation to the role of same/different detectionI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
