Methods of articulation in piano performance

Abstract

Pianists of varying levels of experience performed polyphonic excerpts from the classical repertoire on a computer‐monitored (MIDI interface) synthesizer. Preliminary findings showed consistent and reliable temporal patterns of articulation. Both legato and staccato patterns were accurately predicted by a combination of the durations of successive notes in the musical score. Onset times of the individual voices notated as simultaneous differed such that the melody preceded the other voices, similar to Rasch's [J. Acoust. Soc. Am. 43, 121–131 (1979)] finding with ensemble players. Rubato patterns (alterations in tempo from mechanical regularity) were also consistent within an excerpt, demonstrating predictable changes within phrases and at cadences. Patterns of rubato in these polyphonic performances were similar to Bengtsson and Gabrielsson's [Proc. R. Swed. Acad. Music 39, 27–60 (1983)] profiles of monophonic performances by pianists. Each of these patterns of articulation was strongest in experienced pianists, and existed to varying degrees in student musicians. When experts were asked to perform nonmusically, the articulation patterns were still present but dampened in degree. Ongoing research is comparing the influence of amplitude (using a velocity‐sensitive weighted keyboard) on pianists' articulation patterns. [Work supported by NSF and NIMH.]